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Other Name
"ALBERTA MEAT MARKET"
Material Type
Artifact
Materials
STEEL, WOOD, IRON
Catalogue Number
P20180025000
  2 images  
Material Type
Artifact
Other Name
"ALBERTA MEAT MARKET"
Date
1955
Materials
STEEL, WOOD, IRON
No. Pieces
3
Height
115
Length
427
Width
24
Description
A. COMMERCIAL ADVERTISING SIGN, NEON. BODY STEEL PAINTED WITH TWO-TONE BLUE ON FRONT; FRONT HAS RED WOODEN LETTERS MOUNTED TO METAL FRAME AT BACK, SPELLING “ALBERTA" WITH WHITE NEON LETTERS OVERLAID. FRONT HAS WHITE LETTERS PAINTED ON BLUE BODY WITH OVERLAID WHITE NEON LETTERS READING “MEAT MARKET”. NEON LETTERS COMPRISED OF CONNECTED CLEAR, GLASS TUBES WITH BACKS PAINTED WHITE, AND UNPAINTED FRONTS; LETTERS ARE CONNECTED AND PAINTED BLACK BETWEEN INDIVIDUAL LETTERS; NEON LETTERS CONNECT INTO SIGN . LETTERS FASTENED TO FRONT OF SIGN BODY WITH BRACKETED GLASS EXTENSIONS, AND WITH SILVER WIRES TIED TO LETTERS. SIGN BODY IS RECTANGULAR WITH CUT-OUT SPACE IN CENTER WITH “ALBERTA" WOOD LETTERS IN FRONT OF CUT-OUT SPACE. SIGN BODY SLOPES DOWN FROM UPPER RIGHT CORNER; LOWER EDGE OF BODY SLOPES UP FROM RIGHT CORNER. SIGN FRONT HAS NEON TUBING ALONG UPPER EDGE ON BLUE FRAME, WITH SHORTER NEON TUBE RUNNING ACROSS FRAMING NEON TUBING ON THE LEFT SIDE. FRONT OF SIGN HAS LOGO BETWEEN “MEAT” AND “MARKET” NEON TEXT; LOGO COMPRISED OF RED BANNER EXTENDING FROM SIDES OF WHITE SHIELD IN CENTER; SHIELD HAS BLUE BORDER WITH BLUE “N” IN CENTER; RED BANNERS HAVE WHITE BORDERS AND WHITE TEXT ACROSS LOGO “NATIONAL NEON”.RED WOODEN LETTER “L” WARPED AND SPLITTING AT FRONT. TOP OF SIGN BODY STAINED WITH WHITE PAINT AND BLACK SOILING. BACK OF SIGN HAS FIXED BRACKETS ALONG EDGES WITH HOLES PUNCHED AT TOP AND BOLTED AT BOTTOMS TO SIGN BACK. BACK HAS BLACK POWER CORD EXTENDING WITH YELLOW POWER PLUG AT END; BACK HAS PAINT PEELING, IS STAINED AND RUSTED. BACK OF RED WOODEN LETTER “R” IS CRACKED; BACKS OF RED WOODEN LETTERS STAINED WITH YELLOW AND BLUE PAINT. OVERALL VERY GOOD CONDITION. B. NEON TUBING REMNANT, LETTERS “TA”, 41 CM LONG X 54 CM WIDE. GLASS TUBING FILLED WITH WHITE, PAINTED BLACK ON BACKS AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. LETTERS “TA” FASHION IN CURSIVE FONT AND CONNECTED; TUBE LOOPS OVER AT JUNCTION IN “A” AND GOING UP THE “T”. LOWER END OF “A” HAS BLUE PAINT STAINING; PAINT CHIPPED AROUND ENDS; OVERALL VERY GOOD CONDITION. C. NEON TUBING REMNANT, LETTERS “AT”, 28 CM LONG X 50 CM WIDE. CLEAR GLASS TUBING, EMPTY, GLASS IS YELLOWED. TUBING PAINTED BLACK ON BACK, AT LOWER BASE, AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. TUBES LOOP OVER AT JUNCTION IN “A” AND AT THE TOP LINE IN “T”. PAINT CHIPPED ON BACK AND FRONT; END CAPS RUSTED; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
INDUSTRY
History
IN 2018, THE GALT MUSEUM RECEIVED A COMMERCIAL NEON SIGN FROM THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THE CRIGHTON FAMILY. IN THE 1920S, GEORGE CRIGHTON OPENED CRIGHTON MEAT MARKET ON 3RD AVENUE BETWEEN 7TH AND 8TH STREET IN DOWNTOWN LETHBRIDGE, AND OPENED THE ALBERTA MEAT MARKET AS A SECOND SHOP AT 510—6TH AVENUE SOUTH. THE ALBERTA MEAT MARKET REMAINED OPERATED BY THE CRIGHTON FAMILY UNTIL ITS CLOSURE IN 2012. THE ORIGINAL NEON SIGN FROM THE ALBERTA MEAT MARKET WAS REMOVED AND DONATED ON NOVEMBER 22, 2018. IN APRIL 2019, THE SIGN UNDERWENT RESTORATIONS TO REPAIR THE NEON LETTERING AT L.A. NEON, LETHBRIDGE, PRIOR TO ITS INSTALLATION IN THE GALT MUSEUM PERMANENT DISPLAYS ON JULY 9, 2019. ON DECEMBER 19, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELAINE BROWN, WHOSE FATHER-IN-LAW, DAVE BROWN, OWNED NATIONAL NEAN DISPLAYS LTD., AND WHOSE HUSBAND, ALLAN BROWN, WORKED FOR NATIONAL NEON. ON THE “ALBERTA MEAT MARKET” SIGN, BROWN RECALLED, “THAT WAS ONE OF THE FIRST SIGNS THAT THEY MADE…THE WOOD ON IT, IS WHY I KNEW THAT IT WAS ONE OF THE FIRST ONES.” “[ALLAN] USED TO GO AROUND EVERY EVENING, ONCE A WEEK, AND CHECK AND MAKE SURE [THE SIGNS] WERE ALL KEPT UP. IF ANY OF THE NEON WAS BROKEN, THEN THEY WOULD IMMEDIATELY GO AND REPAIR IT SO THAT EVERYTHING WAS ‘AS IS’. HE WORKED [AT NATIONAL NEON] ALL DAY.” “[ALLAN] WAS PROUD OF THEM ALL. HE KNEW EXACTLY WHERE EVERY SIGN WAS. ANY ONE THAT HE WOULD PUT UP, HE COULD GO IN AND REPAIR QUICKLY, BECAUSE HE KNEW EXACTLY WHERE EVERYTHING WAS.” “ALLAN USED TO PAINT AND HANG SIGNS, [HIS BROTHER] JIM USED TO BLOW THE NEON AND [HIS BROTHER] BUSTER WOULD ALSO HANG SIGNS.” BROWN FURTHER ELABORATED ON THE HISTORY OF NATIONAL NEON DISPLAYS, STATING, “BEFORE [WE MARRIED IN 1957] ALLAN’S DAD, DAVE, BOUGHT THE BUSINESS WITH HIS THREE SONS…[IT WAS] NATIONAL NEON DISPLAYS LTD.” “IT WAS [AN EXISTING] BUSINESS OWNED BY ANOTHER BROWN…[DAVE] WAS INTERESTED IN IT, SO HE WENT IN AND DID ALL THE LEGWORK TO SEE IF HE COULD MAKE A GO OF IT. OBVIOUSLY, HE DECIDED HE COULD BECAUSE HE [AND THE SONS] BOUGHT IT.” “[ALLAN’S FAMILY] HADN’T BEEN [MAKING SIGNS] BEFORE BUT I PRESUME THEY KNEW THAT THEY COULD MAKE IT GO AND THEY COULD MAKE SIGNS. GRANDPA BROWN SAID THAT HE THOUGHT THEY COULD MAKE IT GO AND THEY DID.” “[ALLAN] DIDN’T THINK THE PLASTIC [SIGNS], WITH JUST THE FACE, WERE AS EYE-CATCHING AS THE NEON SIGNS NOR WERE THEY AS NICE TO LOOK AT WHEN THEY WERE ON. HE REALLY TOOK AN INTEREST IN IT; HE REALLY TRIED TO KEEP IT UP QUITE WELL. THEN HE RETIRED AND WE SOLD TO A MAN FROM CALGARY. I DON’T KNOW WHAT HAPPENED AFTER THAT BUT I THINK NEON PRODUCTS OWNS IT NOW, SO THEY SHUT [THE ORIGINAL] BUILDING DOWN. ALLAN HAD SOLD THE BUILDING AFTER HE RETIRED AND THEN THEY SHUT [THE] BUILDING DOWN AFTER THAT.” “WE HOPED THAT NATIONAL NEON WOULD BE IN PEOPLE’S MINDS AS BEING HERE AND BUILDING THOSE SIGNS…NATIONAL NEON WAS HERE AS A COMPANY AND EXPANDED FROM HERE. [ALLAN] USED TO GO INTO B.C. AND SASKATCHEWAN, TO EDMONTON…TO SELL THEM. IT WASN’T JUST A LOCAL BUSINESS. IT WAS ALL OVER, B.C., SASKATCHEWAN, ALBERTA—AND I THOUGHT IT WAS REALLY INTERESTING THAT THEY’D PICK ONE OF THE FIRST SIGNS THAT [ALLAN] BUILT TO TAKE DOWN AND PRESERVE. I’M SURE [ALLAN] WOULD HAVE BEEN HAPPY WITH THAT.” ON NOVEMBER 28, 2019, MACLEAN INTERVIEWED MIRIAM SMITH AND BOB CRIGHTON REGARDING THEIR MEMORIES OF THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THEIR GRANDFATHER GEORGE CRIGHTON, FATHER JAMES CRIGHTON, AND THEMSELVES. ON THE HISTORY OF THE ALBERTA MEAT MARKET, MIRIAM SMITH RECALLED, “THE CRIGHTON FAMILY MOVED FROM SCOTLAND IN 1920…[GRANDPA CRIGHTON] OPENED THE STORE; HE RAN THE 6TH AVENUE STORE. HE RAISED HIS SONS OUT OF THERE. DAD WAS A BUTCHER IN SCOTLAND; THEY ALL BECOME BUTCHERS. BOBBY LEFT; TOMMY LEFT; DAVEY, HE WAS A BUTCHER; GEORGE WENT TO CAMPBELL RIVER.” “[DAD TOOK OVER THE SHOP ON 6TH AVENUE] ’38, OR ’39.” BOB CRIGHTON ELABORATED, “[DAD] TRIED TO ENLIST, BUT HE HAD THE STORE ON 3RD AVENUE, AND HE WENT BROKE THERE. THAT WAS CALLED CRIGHTON’S MEAT MARKET AT THAT TIME...HE HAD TO PAY ALL OF HIS BILLS OFF, SO MY GRANDPA ASKED HIM TO TAKE OVER THE 6TH AVENUE STORE. SO HE TOOK OVER THE 6TH AVENUE STORE, AND CHANGED IT TO THE ALBERTA MEAT MARKET.” “[WHEN DAD GOT THE NEW NEON SIGN] I REMEMBER HIM PUTTING IT UP. DAD RENOVATED THE STORE AND WE GOT NEW MEAT COUNTERS, AND WHEN HE GOT THE NEW SIGN UP, I WATCHED THEM PUT IT UP. NATIONAL NEON PUT IT UP…I WAS 12-14 YEARS OLD.” MIRIAM SMITH RECALLED, “I WORKED THERE WHEN I WENT TO SCHOOL. I HAD TO ANSWER THE TELEPHONE ON SATURDAYS, OR HOLIDAYS…IT WAS A BUSY STORE. I REMEMBER ALONG 6TH AVENUE AND 5TH STREET, YOU COULDN’T FIND A PLACE TO PARK BECAUSE IT WAS SO BUSY. I REMEMBER, AT LUNCHTIME, I USED TO SAY, 'I’M GOING TO GO FOR MY LUNCH NOW,' AND THERE USED TO BE SILVER’S ACROSS THE STREET. MY DAD WOULD ALWAYS SAY, ‘NO, YOU CAN’T GO. I’VE GOT TO FIX THE COUNTER AND GET MY PARSLEY OUT.' HE ALWAYS HAD HIS COUNTER VERY BEAUTIFULLY DONE.” “THE PHONE WOULD RING OFF THE HOOK, ESPECIALLY [WITH] EVERYBODY WANTING TO ORDER THEIR MEAT. IT WAS PLEASANT VISITING WITH THE DIFFERENT PEOPLE. SOME OF THEM I KNEW; SOME OF THEM I DIDN’T. BUT I FOUND MOST PEOPLE VERY NICE TO CHAT WITH. I REMEMBER MY DAD, AND DORIS HUNT (H.B.HUNT), THE DOCTOR’S WIFE. SHE USED TO COME IN, AND SHE WAS QUITE A BOISTEROUS LADY, AND SHE SPOKE HER MIND. I REMEMBER ONE TIME SHE SAID TO MY DAD, 'JIMMY, THAT ROAST BEEF YOU GAVE ME LAST WEEK WAS TOUGHER THAN HELL.' WELL, MY DAD SAID TO HER, 'YOU KNOW, DORIS, I REMEMBER YOUR HUSBAND TOOK MY APPENDIX OUT, AND THEY COME BACK AGAIN.'" MIRIAM SMITH NOTED, "I REMEMBER THE TIME THAT DAD GAVE THE TURKEY TO THE KID…THE KID HAD NO MONEY, AND HE COME FOR HAMBURGER.” BOB CRIGHTON ELABORATED, “HAMBURGER, AT CHRISTMAS TIME. IT WAS 40 BELOW OUTSIDE, AND HE [CAME] DOWN…HE SAID, ‘I WANT A POUND OF HAMBURGER, MR. CRIGHTON.' [DAD] SAYS, ‘WHAT ARE YOU HAVING FOR CHRISTMAS SUPPER?' 'HAMBURGER.' 'JUST A MINUTE.' SO, [DAD] GETS A TURKEY, AND A HAM, AND SAUSAGE. GOT A BAG FOR HIM, AND HE SAYS, 'THERE – MERRY CHRISTMAS.'" “DAD WAS A PRETTY GENEROUS MAN! WHEN ANDY KERGEN DIED, JUDY [CAME] IN. SHE WAS CRYING. SHE HAD A $200.00 BILL; SHE COULDN’T PAY IT. SHE HAD $5.00 TO PUT ON THE BILL. DAD SAYS, “GIVE ME THE BILL, JUDY.” HE LOOKED AT THE BILL; HE TOOK HIS WALLET OUT AND PAID THE BILL, AND THEN GAVE HER THE RECEIPT.” MIRIAM SMITH CONTINUED, “I ALWAYS REMEMBER WHEN WE WERE KIDS GROWING UP, WE ALWAYS HAD LOTS OF MEAT. WHATEVER WAS LEFT OVER AT THE STORE [WOULD] COME HOME…WE COULD BRING ANYBODY WE WANTED, MOTHER DIDN’T MIND. THE MEAT PLATTER WOULD BE PLACED IN THE MIDDLE OF THE TABLE, AND THE WATER PITCHER. NOBODY WANTED TO SIT BESIDE THE WATER PITCHER, BECAUSE ALL YOU DID WAS POUR WATER.” MIRIAM SMITH NOTED, “[WE, THE CHILDREN, BOUGHT DAD OUT] IN 1965.” ON DECEMBER 11, 2018, MACLEAN INTERVIEWED KEN CRIGHTON, GRANDSON OF JAMES [JIM] CRIGHTON. KEN CRIGHTON WORKED WITH THE FAMILY IN ALBERTA MEAT MARKET. ON HIS MEMORIES OF WORKING IN THE ALBERTA MEAT MARKET, KEN CRIGHTON NOTED, “I WAS THERE EVERY DAY FOR 30 SOME YEARS…MY DAD AND HIS TWO BROTHERS WERE OPERATING IT WHEN I WAS A KID. [I] GOT TOLD TO GET DOWN THERE, AND HELP CLEAN UP; DO SOME CHORES; HELP WITH DELIVERIES; THEN I WORKED INTO LEARNING HOW TO CUT MEAT.” “[MY GRANDFATHER OWNED IT] JAMES ANDERSON CRIGHTON, BUT EVERYONE CALLED HIM ‘JIM’.” “[MY] FIRST MEMORIES OF GOING THERE TO WORK WAS HAVING TO RIDE ON YOUR BIKE, OR WALK FROM SCHOOL RIGHT AFTER SCHOOL, TO HELP CLEAN UP EITHER AT 4 O’CLOCK OR 4:30. IT ALWAYS SEEMED TO ME THAT I WAS DOING THE BULK OF THE WORK, AND THEY WERE DOING MOST OF THE BEER-DRINKING.” “EVERY NIGHT YOU HAD TO EMPTY ALL THE MEAT OUT OF THE COUNTER, COVER IT OVER, TAKE IT, PUT IT IN THE BIG COOLER; TAKE ALL THE PLATTERS OUT OF THE COUNTER, WASH THEM, DRY THEM…EVERYTHING FROM SWEEPING THE FLOOR, TO RAKING THE FLOOR. WE USED TO HAVE SAWDUST ON THE FLOOR TO SOAK UP ALL THE BLOOD AND FAT THAT WOULD FALL DOWN. YOU’D RUN A RAKE THROUGH IT TO PICK UP ALL THE BIG CHUNKS OF GARBAGE, AND THEN TWICE A WEEK YOU’D SWEEP UP ALL THE SAWDUST, AND REPLACE IT WITH FRESH SAWDUST. THAT ENDED WHEN THE HEALTH DEPARTMENT CHANGED…WHEN I WAS ABOUT 12-13, SO THAT WOULD HAVE BEEN 1972.” “[THE SHOP WAS OPEN] SIX DAYS A WEEK. WE WERE ONLY CLOSED, THEN, ON SUNDAYS.” “EVERY DAY, WEEKDAYS AFTER SCHOOL, AND SATURDAYS, I WOULD HELP THE GUY THAT WOULD DO DELIVERIES. WE’D RUN OUT A COUPLE, OR THREE, LOADS OF DELIVERIES TO HOUSES. IT WAS DIFFERENT BACK THEN. WE HAD SOME CUSTOMERS WHO WOULD ORDER THEIR STUFF IN THE MORNING FOR WHAT THEY WANTED FOR LUNCH. THEN THEY PHONE IN THE AFTERNOON, AND ORDER FOR WHAT THEY WANTED FOR SUPPER, WHICH, LATER ON, BECAME THE, “NO, YOU GET ONE DELIVERY A DAY.”” KEN CRIGHTON RECALLED THE LAYOUT OF THE SHOP, STATING, “THE FRONT HALF OF THE BUILDING, WHERE THE CUSTOMERS WERE, WAS PROBABLY ONLY ABOUT THE FIRST THIRD, MAYBE HALF OF THE BUILDING. A GLASS COUNTER/COOLER [WAS] ALONG THE MIDDLE, AND BEHIND IT WAS WHERE WE HAD OUR CUTTING BLOCKS AND SAW. [THERE WAS A] LITTLE COUNTER FOR A PHONE, [A] LITTLE COUNTER TO DO BOOKS ON, [AND] A 6’ WIDE AREA FOR THE CUSTOMERS TO STAND. EVERYTHING WAS SERVED. THERE WAS NO ‘THEM PICKING IT OUT’ AT THE COUNTER. IT WAS ALL DONE AND WRAPPED IN BROWN PAPER BY US.” “ON THE LEFT SIDE, [THERE WAS] A GOOD 15’ TO 20’ WALK-IN COOLER. THEN, ALONG THE WEST WALL, WE HAD A SMALL FREEZER WITH SHELVES. [IT] HAD NINE LITTLE DOORS THAT [OPENED] UP, AND SLIDE TRAYS IN. WHEN YOU’RE DOING FREEZER BEEF ORDERS, YOU’D USE THAT TO FREEZE THEM UP. [THERE WAS] A LITTLE WALK-IN FREEZER TO HOLD THE BOXES, PROBABLY ONLY 3’ BY 6’. [THERE WAS] A COUNTER [AT] THE BACK END, WITH A STOVE, THAT WE WOULD USE TO COOK UP CORNED BEEF, [AND] A FEW OTHER COLD MEATS.” “WE HAD A DOUBLE DOOR ON THE SIDE THAT WENT TO THE ALLEY, THAT WE WOULD BRING THE STUFF IN OFF THE TRUCK. USUALLY IT WAS TUESDAYS AND THURSDAYS, WE WOULD GET THE BIG ORDERS OF HANGING BEEF IN. WE HAD TWO HUGE 2’ BY 6’ PIECES OF WOOD THAT WERE ON BIG HOOKS THAT WERE PROPPED UP IN THE ATTIC. THEN YOU WOULD HANG YOUR BIG MEAT HOOKS ON THEM. YOU COULD GET 8 HIND QUARTERS, AND 6-8 FRONT QUARTERS HANGING UP IN THERE. ONE DAY WAS THE DAY YOU WOULD BREAK THEM DOWN INTO PIECES, AND THEN PUT THEM INTO THE COOLER, OR SAVE THE QUARTERS IF YOU HAD A WHOLE QUARTER FOR A FREEZER ORDER.” “[I LEARNED THE TRADE] MOSTLY BY WATCHING…BY THE TIME I WAS 15-16, [I WAS] IN THERE DOING EVERY SINGLE THING THEY’RE DOING: RUNNING THE BAND SAW, THE GRINDER, MIXING UP BURGERS, MAKING PATTIES, THE WHOLE DEAL. [I] DIDN’T REALLY GET TO SERVE CUSTOMERS TILL [I WAS] OLDER. A LOT OF THE CUSTOMERS, EVEN THEN, DIDN’T WANT ME SERVING THEM, [THEY] WANTED THE OLD MAN, OR ONE OF THE OLDER GUYS. I’M SURE LOTS OF FAMILY BUSINESSES RUN INTO THAT, WHERE THE OLD-TIME CUSTOMERS ONLY WANT THE OLDER PEOPLE LOOKING AFTER THEM.” “[THE SHOP DID WELL] I THINK BECAUSE, PROBABLY A LOT OF REPUTATION, AND PERSONALIZED SERVICE. BUT, AFTER A WHILE, IT GOT TO BE THAT YOU WERE RUNNING INTO A LOT OF PEOPLE THAT WOULD WANT YOUR QUALITY/YOUR SERVICE BUT AT THE SAME SALE PRICE THAT THE BIG STORES WOULD HAVE. THAT WAS THE FRUSTRATION OF IT…I WOULD SAY PROBABLY 90% OF THE CLIENTELE WERE REPEATS, AND YOU HAD YOUR STEADY CORE CUSTOMERS…THEY WOULD GET WHAT THEY LIKED.” “[IN THE 1980S] THERE WAS MYSELF, DAD, [AND] HE HAD TWO OTHER YOUNGER PEOPLE WORKING, ONE NAMED LEN, WHO WAS CUTTING MEAT, AND ANOTHER [WOMAN] NAMED IDA, WHO CUT. BUSINESS STARTED TO TAPER OFF THEN. HE LAID OFF IDA, AND THEN ME, AND LEN, AND DAD WOULD PRETTY WELL OPERATE THE WHOLE SHOW. THAT WAS ABOUT 1990.” “[DAD] WAS VERY, I THINK, ASTUTE AT THE BUSINESS…[HE] HAD TO BE, BECAUSE THAT WAS THEIR LIVING. THEY HAD NOTHING ELSE TO FALL BACK ON. [HE HAD TO] MAKE IT WORK. HE WAS REALLY GOOD WITH THE CUSTOMERS. HE ENJOYED SERVING THE CUSTOMERS MORE THAN THE GRUNT WORK IN THE BACK. HE COULD DO IT, BUT HE PREFERRED BEING UP FRONT, WORKING WITH THE PEOPLE. ME AND MY UNCLE RON COULD STAY IN THE BACK ALL DAY. I COULD STAND THERE AT THAT BLOCK, AND WE COULD CUT MEAT 8 HOURS STRAIGHT. [IT] WOULDN’T BOTHER US. I COULD HANDLE SERVING THE CUSTOMERS, BUT I PREFERRED JUST WORKING.” “[BUSINESS] REALLY STARTED DECLINING…I REALLY NOTICED IT AROUND 2008, 2009. FOR THE LAST WHILE, [I] JUST HAD MYSELF AND ONE OTHER YOUNG FELLOW, GARRY, WORKING THERE. IT WAS TO THE POINT WHERE YOU COULDN’T MAKE ENOUGH SALES TO AFFORD ANOTHER PERSON, BUT IT WAS TOO BUSY FOR ONE. GARRY WAS STARTING TO HAVE A FAMILY, AND NEEDED MORE MONEY. HE LEFT TO GO WORK SOMEWHERE ELSE. SO, I HUNG ONTO IT, AND JUST DID IT ALL BY MYSELF FOR THE LAST FOUR YEARS. BEING THE ONLY GUY THERE, EVERY HOUR OF EVERY DAY, FOR TEN HOURS A DAY, STARTED TO GET TO ME. IT GOT TO THE POINT WHERE, IN 2011, EARLY 2012, I JUST THOUGHT, “THERE’S NO POINT IN WORKING LIKE THIS, AND NOT MAKING ANYTHING. I MIGHT AS WELL DO NOTHING, AND MAKE THE SAME AMOUNT.”” KEN CRIGHTON SOLD ALBERTA MEAT MARKET IN 2012. MIRIAM SMITH SPOKE TO HER THOUGHTS ON THE SIGN BEING DONATED TO THE GALT MUSEUM, NOTING, “I’M VERY HAPPY. I THINK IT’S A GOOD PLACE FOR IT, AND I THINK KENNETH, AND EVERYBODY FEELS THAT WAY.” KEN CRIGHTON CONFIRMED, “I’M ECSTATIC! I WOULD RATHER IT BE HERE. OUR WHOLE FAMILY’S LOST OUR IDENTITY/ERASED [IT] BY HAVING IT JUST THROWN AWAY. ON THE OTHER HAND, I DIDN’T WANT IT STILL ON THE BUILDING, [WITH] THE BUILDING BEING USED FOR A DIFFERENT PURPOSE, AND HAVING THE NAME ASSOCIATED. [IT] FELT LIKE THE NAME BELONGED TO THE CRIGHTON’S MORE THAN THE COMMUNITY, OR WHOEVER OWNED THE BUILDING.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, FAMILY OBITUARIES, AND ARTICLES FROM THE LETHBRIDGE HERALD, PLEASE SEE THE PERMANENT FILE P20180025000-GA.
Catalogue Number
P20180025000
Acquisition Date
2018-11
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
STEEL, PLASTIC
Catalogue Number
P20170024000
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1950
Materials
STEEL, PLASTIC
No. Pieces
2
Height
22
Length
50
Width
40
Description
A. TYPERWRITER, 22 CM TALL X 50 CM LONG X 40 CM WIDE. DARK GREY WITH SILVER TRIM AND BLACK DECK; TYPEWRITR HAS BLACK AND RED RIBBON FIXED UNDER DARK GREY COVER; TYPEWRITER HAS FULL SET OF KEYS MARKED WITH BLACK AND CREAM LABELS. TYPEWRITER HAS TWO SILVER SWITCHES ON FRONT LEFT SIDE ABOVE “TAB CLEAR” BUTTON, AND TWO SILVER SWITCHES ON FRONT RIGHT SIDE WITH RED, BLUE AND WHITE MARKS BETWEEN, ABOVE “TAB SET” BUTTON. FRONT HAS GOLD PLATE TARNISHED BLACK WITH SILVER TEXT “ROYAL”, AND WHITE WORN PAINTED TEXT “MADE IN CANADA” BELOW. TYPEWRITER HAS WIDE DECK. RIGHT SIDE OF TYPEWRITER HAS BLACK TURN-KNOB WITH WORN WHITE PAINTED TEXT “TOUCH CONTROL” AND METAL ADJUSTMENT PLATE BELOW. BACK HAS WORN WHITE PAINTED LABEL “ROYAL”; UPPER LEFT CORNER OF BACK HAS WORN WHITE PAINTED LABEL “PATENTED, 1910, 1915, 1916, 1924”; BOTTOM OF BACK HAS WORN WHITE PAINTED LABEL “PROTECTED BY AMERICAN AND FOREIGN PATENTS, NOT FOR EXPORT, TOUCH CONTROL”. SERIAL NUMBER ENGRAVED INSIDE BACK LEFT SIDE OF CARRIAGE DECK, “KMM14-2685751”. CARRIAGE DECK IS WORN AND SOILED; PAINTED LABELS ARE WORN; OVERALL VERY GOOD CONDITION. B. TYPEWRITER COVER, 51.5 CM LONG X 50.5 CM WIDE. GREY-GREEN CANVAS COVER WITH COTTON LINING. COVER HAS WHITE MACHINE-STITCHED EDGES THAT ARE WORN AND FRAYING. COVER HAS HOLES AND TEARS IN SIDES AND FRONT; COVER IS CREASED AND FLAKING ON FRONT AND SIDES. OVERALL GOOD CONDITION.
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
BUSINESS
COAL MINING
INDUSTRY
History
ON JULY 26, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLORIA MARTENS REGARDING HER DONATION OF A “ROYAL” TYPEWRITER. MARTENS ACQUIRED THE TYPEWRITER FROM DON LIVINGSTON WITH BRIDGE VALLEY GOLF IN LETHBRIDGE, ALBERTA. ON HER MEMORIES OF THE TYPEWRITER, MARTENS RECALLED, “I DIDN’T [KNOW IT WAS THERE] PRIOR TO TAKING IT. IT WAS UP ON A HIGH SHELF IN THE BACK CORNER AND I WAS UP TRYING TO FIND WHAT WAS UP THERE AND THAT’S WHEN I COME ACROSS IT. I NEVER [SAW MR. LIVINGSTON USE IT].” “I WAS WORKING DOWN AT BRIDGE VALLEY GOLF FOR MR. DON LIVINGSTON. I WAS CLEANING UP THE OFFICE ONE DAY AND IT WAS UP ON A TOP SHELF IN THE BACK CORNER. I ASKED HIM ABOUT IT AND HE INFORMED ME THAT IT HAD BEEN HIS DAD’S AND THAT HE HAD USED IT IN THE MINE, IN HIS OFFICE. MR. LIVINGSTON SAID, “IF YOU WANT IT YOU CAN TAKE IT HOME.” I BROUGHT IT HOME THINKING IT WAS QUITE AN INTERESTING PIECE AND IT’S MOVED WITH ME A COUPLE OF TIMES, BUT IT’S GOT TO THE POINT WHERE I DON’T USE IT SO, THEREFORE, MAYBE IT CAN BE PUT TO SOME USE SOMEWHERE.” “IT HAS TO BE 30 OR SO YEARS AGO [SINCE I WAS GIVEN THE TYPEWRITER].” “IT WAS JUST AN OLD TYPEWRITER AND IT WAS SOMETHING SIMILAR TO WHAT MY GRANDFATHER PROBABLY USED, AND SO IT WAS INTERESTING TO ME. SO I BROUGHT IT HOME.” “I HAD A SMALL LITTLE TYPEWRITER, BUT I NEVER DID MUCH TYPING.” IN THE LETHBRIDGE HERALD OBITUARY FOR R. DONALD LIVINGSTONE [MARCH 13, 2001], IT IS RECOUNTED THAT R. LIVINGSTONE WORKED FOR THE #8 MINE UNDERGROUND BEFORE ADVANCING TO ENGINEER, MANAGER, AND GENERAL MANAGER FOR LETHBRIDGE COLLIERIES FOR 34 YEARS. R. LIVINGSTONE WAS A LIFETIME MEMBER OF THE LETHBRIDGE COUNTRY CLUB AND OWNED BRIDGE VALLEY PAR-3 GOLF COURSE AND DRIVING RANGE. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20170024000-GA.
Catalogue Number
P20170024000
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
TIN, INK
Catalogue Number
P20180004000
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Materials
TIN, INK
No. Pieces
1
Length
30.6
Width
25.8
Description
METAL SIGN WITH DOUBLE-SIDED PRINTING ON LIGHT BROWN BACKGROUND. SIGN SHOWS BLACK SQUARE BACKGROUND WITH RED TRIM AND LIGHT BROWN TEXT WITH RED TRIM READING “AGENT FOR THE LETHBRIDGE HERALD HERE, THE LETHBRIDGE HERALD SERVES THE SOUTH”; SIGN HAS SMALL BLACK TEXT PRINTED AT BOTTOM RIGHT CORNER “TMOS. DAVIDSON MFG. CO. LTD. MONTREAL”. BACK OF SIGN IS PRINTED THE SAME. SIGN HAS JAGGED METAL EDGE BENT DOWN ON LEFT SIDE; SIGN IS RUSTED FRONT AND BACK AND FADED; SIGN IS SCRATCHED IN FRONT UPPER RIGHT CORNER AND CORRODED LOWER LEFT CORNER. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
PROFESSIONS
History
ON MARCH 19TH, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONTACTED DAN PLOURDE, THE "AGENT FOR...HERALD" SIGN'S SELLER. THE SIGN WAS PURCHASED BY THE GALT MUSEUM AT URBAN PRAIRIE ANTIQUE MALL ON MARCH 21, 2018. PLOURDE, A PICKER, LEASES MALL SPACE AT URBAN PRAIRIE AS A LOCATION TO SELL HIS PICKS. PLOURDE TOLD MACLEAN THAT THE HERALD SIGN CAME FROM A RURAL PROPERTY NEAR CHIN LAKE. THE RURAL LOCATION FEATURED "QUONSETS" FULL OF OTHER ITEMS, INCLUDING GAS MEMORABILIA AND FURNITURE. THE ORIGINAL OWNER OF THE SIGN, WHO LIVED AT THE PROPERTY WAS NO LONGER LIVING. THE OWNER, CONTINUED PLOURDE, CONDUCTED HIS OWN PICKING "IN BACK ALLEYS IN LETHBRIDGE 60 YEARS AGO". PLOURDE ATTEMPTED TO SELL THE SIGN IN FORT MACLEAD BEFORE RECOGNIZING THAT ITS MARKET WAS GREATER IN LETHBRIDGE. FOR COPIES OF INFORMATION REGARDING THE SIGN, PLEASE SEE THE PERMANENT FILE P20180004000-GA.
Catalogue Number
P20180004000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
METAL, COTTON, PLASTIC
Catalogue Number
P20180007000
  2 images  
Material Type
Artifact
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Materials
METAL, COTTON, PLASTIC
No. Pieces
1
Height
31
Diameter
13.4
Description
BLACK CANDLESTICK-STYLE TELEPHONE WITH RECEIVER AND SPEAKER. TELEPHONE SPEAKER IS ATTACHED TO BLACK ROUND BASE AND BLACK MIDDLE ROD WITH HOOK FOR HANGING THE RECEIVER; METAL STAND ON BROWN PADDED BASE WITH BLACK PLASTIC SPEAKER AT THE TOP. BASE HAS WHITE STAMPED TEXT AROUND BASE OF THE STAND “WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 26 15”. TELEPHONE HAS BLACK METAL PLATE BENEATH PLASTIC SPEAKER WITH ENGRAVED TEXT “9298W, WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 14 1919”. BASE HAS TWO BROWN CLOTH-COVERED CORDS EXTENDING FROM BACK OF BASE; FIRST CORD IS CUT OFF, SECOND CORD IS ATTACHED TO BLACK PLASTIC RECEIVER. RECEIVER IS CONE-SHAPED WITH WIDER MOUTHPIECE AT END. RECEIVER IS WRAPPED WITH BLACK TAPE AROUND MIDSECTION; RECEIVER HAS ENGRAVED TEXT AROUND CORD, “PAT. IN U.S.A. APRIL 16, 1918, MAY 20, 1913, JUNE 3, 1913”. RECEIVER HAS ENGRAVED TEXT AROUND BACK EDGE OF MOUTHPIECE “WESTERN ELECTRIC MADE IN U S A 143”. TELEPHONE HAS CHIPPED PAINT ON RECEIVER HOOK; SPEAKER OF TELEPHONE IS CHIPPED WITH LOSS IN PLASTIC; TELEPHONE BODY AND RECEIVER ARE STAINED WITH WHITE PAINT. OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
AGRICULTURE
BUSINESS
INDUSTRY
History
ON APRIL 3, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED JOHN WENSVEEN REGARDING HIS DONATION OF A CANDLESTICK TELEPHONE. WENSVEEN HAD RETIRED FROM ALBERTA TERMINALS LIMITED AND HAD KEPT THE TELEPHONE AS A SOUVENIR FROM HIS TIME EMPLOYED. ON HOW HE CAME INTO POSSESSION OF THE TELEPHONE, WENSVEEN ELABORATED, “WHEN I RETIRED [IN THE FALL OF 1989] FROM THE ELEVATOR, THESE PHONES WERE NOT USED ANY MORE SO THEY WERE MORE OR LESS DISCARDED. WHEN I RETIRED I [WOULD] JUST TAKE ONE HOME. SO I DID. I DIDN’T STEAL IT OR ANYTHING BECAUSE THEY WEREN’T USED ANYMORE.” “[I WORKED FOR] THE CANADIAN GOVERNMENT ELEVATOR LATER KNOWN AS ALBERTA TERMINALS LIMITED.” “THESE [PHONES] WERE IN THE ELEVATOR AND AS LONG AS THEY WERE WORKING, WE USED THEM. [THE COMPANY] DIDN’T WANT TO GO TO ANOTHER PHONE AND HAVE THE SAME THING SITTING IN THE OFFICE…THE PHONE WOULD RING AND THEN YOU WOULD HAVE TO GO OVER THERE AND ANSWER IT. THEY DECIDED WE’VE GOT TO GET SOMETHING THAT WE CAN CARRY WITH US AND THAT’S WHAT WE DID. WE COULD HAVE GONE THROUGH A REGULAR PHONE AS SUCH BUT, AGAIN, YOU WOULD HAVE TO GO THROUGH THAT OFFICE AND ANSWER THE PHONE.” “WE HAD A BOX, [THE] WIRE WAS CONNECTED ON TO THE BOX…IT WAS ON THE WALL AND IT HAD DIFFERENT FLOORS MARKED IN A LITTLE SPACE [WITH] A LITTLE BUTTON BEHIND IT. IF YOU WANTED TO CONTACT ANOTHER FLOOR, YOU WENT IN THERE AND YOU PRESSED THAT BUTTON FOR THAT PARTICULAR FLOOR. THEN THE PHONE WOULD RING. THEN YOU WOULD GET IT OVER THERE AND YOU WOULD ANSWER THE CALL.” “I STARTED IN ’58 AND I THINK WE USED THEM FOR ABOUT 15 YEARS AFTER THAT [UNTIL ABOUT 1972]." “WE WENT OVER TO WALKIE TALKIES…[WHEN] I STARTED WORK THERE...WE WERE USING ALL THESE PHONES AND THEY HAD ONE OF THESE PHONES ON EACH FLOOR. IF YOU WANTED TO CONTACT SOMEBODY, THAT’S WHAT YOU HAD TO USE. THAT’S WHAT WE DID AND, LATER ON THEY WERE OFF-LISTED AND PUT IN THE BASEMENT, AND MORE OR LESS FORGOT ABOUT. SO I DECIDED TO TAKE ONE HOME.” “THESE PHONES WERE NOT THAT CLEAR. WALKIE TALKIES WERE MUCH CLEARER…[YOU] HELD THE MIC CLOSE TO YOU. IF YOU WERE TOO FAR AWAY FROM THE PHONE AND SOMEONE WAS TALKING YOU COULDN’T PICK IT UP VERY WELL. IT WAS SOMETHING AT THE TIME, IT WAS GOOD AT THE TIME BECAUSE THERE WAS NOTHING ELSE. BUT WALKIE TALKIES WERE MUCH BETTER.” “WE USED THIS PHONE ALL THE TIME WHEN WORKING THERE, SO IT WAS SOMETHING THAT WE WERE USED TO USING…THAT’S THE MAIN REASON [I BROUGHT IT HOME]. I THOUGHT IT WOULD BE NICE TO TAKE ONE AS A REMEMBRANCE OF THE ELEVATOR AND I’LL USE IT HOW IT USED TO BE.” “I PUT IT OUTSIDE, I HAVE A SHED, AND I PUT IT IN THE SHED AND IT MORE OR LESS STAYED THERE...I THOUGHT EVENTUALLY IT WOULD BE A KEEPSAKE AND WOULD BE A REMINDER OF MY PLACE WHERE I WORKED. [NOW] I’M DOWNSIZING. I’M GOING TO BE MOVING OUT OF THE HOUSE AND I KNEW I HAD THIS IN THE SHED OUTSIDE. I THOUGHT MAYBE THIS IS A GOOD TIME TO SEE IF I CAN DONATE IT AND I DIDN’T WANT TO THROW IT OUT.” ON HIS TIME WITH ALBERTA TERMINALS LIMITED, WENSVEEN RECALLED, “I WORKED ON THE SCALE FOR 8 YEARS. THE SCALES WERE UPSTAIRS AND THEY HAD 6 PITS DOWN BELOW WHERE THE GRAIN WOULD BE DUMPED. IN THE EARLY DAYS THEY USED BOXCARS, CPR, AND THEY WOULD HOLD 1500 BUSHELS. THEY WERE MADE FOR [TRANSPORT] AND THE GRAIN WOULD COME UP…ABOVE THE SCALE AND WE COULD CONTROL THAT AND WE WOULD WEIGH IT. I WORKED UP THERE FOR ABOUT 8 YEARS. THEN A POSITION CAME AVAILABLE DOWNSTAIRS FOR RECEIVING AND SHIPPING SO I PUT IN FOR IT AND I GOT THAT POSITION. I DID THE RECEIVING AND SHIPPING LATER ON, TAKING GRAIN IN AND SHIPPING GRAIN OUT.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180007000-GA.
Catalogue Number
P20180007000
Acquisition Date
2018-04
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2000
Material Type
Artifact
Materials
PLASTIC, STEEL, GLASS
Catalogue Number
P20180005000
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2000
Materials
PLASTIC, STEEL, GLASS
No. Pieces
1
Height
30.5
Length
57
Width
11.3
Description
CAMCORDER COMPRISED OF LENS, BETACAM DECK, AND COLOR CAMERA. BETACAM DECK AT BACK OF CAMERA IS TWO-TONE GREY WITH TWO PLUG-INS FOR “AUDIO IN, CH-1, CH-2” AND ONE PLUG-IN FOR “DC-IN, 12V”. BETACAM DECK HAS TWO BLACK SLIDE BUTTONS ON TOP LABELLED IN WHITE “EJECT” AND “REW”. BETACAM DECK HAS GREY METAL HANDLE AT TOP THAT FASTENS TO BETA CASSETTE DECK. BETACAM DECK HAS YELLOWED PLASTIC WINDOW ON SIDE TO VIEW INSIDE MECHANISMS; BELOW WINDOW IS GREEN, RED AND BLUE DECAL READING “45 NEWS, 45”. REVERSE SIDE HAS SILVER “POWER ON/OF” SWITCH ABOVE METER MEASURING BATTERY CHARGE, “SONY VU”; BETACAM DECK HAS TWO ROUND BLACK BUTTONS LABELLED “RESET” AND “LIGHT” ABOVE BLACK SWITCH LABELLED “TAPE TIMER, TIME CODE”; SIDE HAS DIGITAL DISPLAY SCREEN READING “HOUR, MIN, SEC”. SIDE HAS ROW OF SIX RED LIGHTS NEAR BOTTOM LABELLED WITH WORN WHITE PAINT WITH FIRST TWO ILLEGIBLE, “HUMID, SLACK, TAPE END, BATTERY”. SIDE HAS PANEL THAT OPENS AT BOTTOM EDGE WITH SIX DARK GREY BUTTONS LABELLED IN PAIRS “HOUR, MINUTE, SECOND” AND TWO BLACK SWITCHES LABELLED “U-BIT, TIME” AND “REC RUN, FREE RUN”. SIDE HAS SILVER PLATE FIXED READING “SONY”. BACK OF BETACAM DECK HAS SILVER LABEL WITH RED, GREEN AND BLUE LOGO “45 CFCN TELEVISION”; BACK HAS BLACK LABEL WITH SILVER TEXT “SONY BETACAM, MODEL BVV-1, VIDEOCASSETTE BETACAM DECK, DCIN, 12V, 10W, NO. 11085, SONY CORPORATION, MADE IN JAPAN, 3-676-119-01”. TOP OF BETACAM DECK HAS BLACK LABEL WITH SILVER TEXT “SAVE MODE ONLY”. COLOR CAMERA IN MID-SECTION IS LIGHT GREY WITH SMALL PIECE OF SILVER TAPE FIXED TO TOP. SIDE OF CAMERA HAS YELLOW LABEL WITH BLACK “1”; SIDE HAS DARK GREY CONTROL PANEL AT BOTTON EDGE WITH EMBOSSED TEXT AND SILVER SWITCHES AND BUTTONS, “AUTO WHITE BAL, CAMERA, PRE HEAT/ON, VTR, SAVE/STOP, GAIN, 12/6/0, OUTPUT, BASS/CAM, WHITE BAL, PRE SET/AUTO”. SIDE HAS DARK GREY BUTTON ABOVE CONTROL PANEL LABELLED “VTR START”. SIDE HAS SILVER FITTING BESIDE PANEL LABELLED “PEDESTAL”. SIDE HAS SILVER LABEL WITH WORN BLACK TEXT “SONY MODEL NO. BVP-1, COLOR VIDEO CAMERA, DC, 12V, 11W, NO. 10505”. SIDE HAS SILVER LABEL WITH BLACK TEXT “FILTER, 1 3200’K, 2 5200’K + 1/4ND, 3 5200’K, 4 6800’K”. REVERSE SIDE HAS BLACK PLATE FIXED WITH SILVER TEXT “SONY” ABOVE BLACK LABEL WITH RED, GREEN, BLUE AND WHITE LOGO “TRINICON”. SIDE HAS SILVER FITTING AT LOWER EDGE WITH EMBOSSED LABEL “MONITOR OUT”; LOWER EDGE HAS SILVER KEY HOLE WITH EMBOSSED LABEL “BATTERY”. CAMERA HAS ATTACHED BLACK ABOVE-VIEWFINDER WITH RUBBER GUARD OVER GLASS LENS. VIEWFINDER IS FIXED TO FRONT OF CAMERA; VIEWFINDER HAS WHITE TAPE ATTACHED TO TOP WITH BLUE HANDWRITTEN TEXT “PASS JULZ DAMAGE TO TUBE OR MULT.PLER”. BACK OF VIEWFINDER HAS SILVER SWITCH “TALLY, ON/OF” AND TWO BLACK METAL TURN-KNOBS “BRIGHT, CONTR”. FRONT OF VIEWFINDER HAS BLACK PLATE ATTACHED WITH SILVER TEXT “SONY”. BLACK LENS AT FRONT FIXED IN LENS STAND WITH LEATHER STRAP ON SIDE AND BLACK PLASTIC BUTTONS “VTR, RET, IRIS M”; SIDE OF LENS STAND HAS BLACK SWITCHES “W/T” AND “IRIS, A/M”. LENS HAS WHITE LABEL AROUND MID-SECTION “CANON MACRO TV ZOOMJ13X9C, 9-117MM, 1.1.6, NO.80581, CANON, JAPAN”. LENS ROTATES TO ADJUST FOCUS AND DEPTH. BETACAM HAS WEAR ON LABELS AND DISCOLORATION ON PLASTIC WINDOW; COLOR CAMERA HAS WEAR ON LABELS AND ADHESIVE RESIDUE ON SIDE; HANDLE ON TOP HAS WORN AND CHIPPED PAINT; VIEWFINDER IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
PROFESSIONS
BUSINESS
History
ON MARCH 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DARREN KRONLUND REGARDING HIS DONATION OF A SONY BVV-1 BETACAM AND CAMCORDER. THE CAMCORDER WAS USED IN THE 1980S BY THE CTV LETHBRIDGE FILM CREW. ON THE FUNCTION OF THE CAMERA IN THE CTV STUDIO, KRONLUND ELABORATED, “THE TECHNOLOGY WITH CAMERAS PROGRESSED QUICKER THAN THE DECKS DID. THESE CAMERAS AND DECKS ARE USED FOR ELECTRONIC FIELD PRODUCTION [AND ARE] CALLED THE EFP CAMERAS. THE DECKS KIND [ARE] THAT TECHNOLOGY WHICH THE MAJORITY OF STATIONS USED FOR THE LONGEST TIME [IN] SONY BETA CAM FORMAT. THAT’S WHAT THE DECK IS, BUT THE CAMERAS THEMSELVES HAD AT ONE TIME THREE TUBES FOR COLOUR CAMERAS. THEN TECHNOLOGY CAME WHERE THEY COULD DO IT WITH JUST SENSORS…SO YOU DIDN’T HAVE TUBES. IT WAS MORE SENSITIVE TO LIGHT AND THAT WAS AN IMPROVEMENT. YOU DIDN’T HAVE TO HAVE TO BRING A BUNCH OF LIGHTS ALONG WITH YOUR SHOOTS. AS THOSE CAMERAS CAME OUT, THEY JUST DID SUCH A BETTER JOB, THAT THESE CAMERAS WERE NO LONGER USED. ALTHOUGH THEY WORKED, THEY WOULD JUST GET STORED AND NEWER TECHNOLOGY, BETTER PICTURES AND LIGHTER [WOULD BE USED].” “[THIS CAMERA] IS A COMPOSITE. AS TECHNOLOGY EVOLVED, THEY COULD SUPPLY [THE] UPPER HALF, THE CAMERA HALF, [AND] YOU COULD CONTINUE TO USE THE OLDER DECK.” TO ME [THE DECK AND CAMERA] ARE DIFFERENT [AGES]. I THINK THE DECK IS NEWER THAN THE CAMERA. OTHERWISE THEY’D BE THE SAME COLOUR. I CAN’T REMEMBER THE OLD, ORIGINAL DECK BUT YOU COULD SWAP OUT DECKS BECAUSE THEY DID MAKE IMPROVEMENTS WITH DECKS AS WELL. THERE WAS A TIME THEY USED METAL TAPES WHICH WAS FOR AUDIO. IT HELPED, YOU COULD GET BETTER AUDIO QUALITY. THEY CALLED THEM METAL, IT’S JUST METAL PARTICLES IN THE TAPE.” “I WOULD SAY THIS CAMERA PROBABLY GOT USED, I’M GOING TO GUESS ’84…IT MIGHT HAVE BEEN IN SERVICE WHEN I GOT HERE…I PROBABLY SERVICED THE] CAMERA AND/OR DECK…[BY 1990 IT WAS] PROBABLY REPLACED WITH THE NEWEST TECHNOLOGY. NOT THE NEWEST TECHNOLOGY BUT NEWEST TO US, CALGARY WOULD HAVE HAD THE NEWEST TECHNOLOGY.” “BETA WAS THE STAPLE FORMAT FOR VIDEO FOR MANY YEARS. PROBABLY LEADING RIGHT UP TO INTO THE DIGITAL WORLD IT WAS THE KING. PANASONIC HAD A FORMAT [TOO]…HITACHI HAD THEIR OWN TOO, BUT THEY EVEN MADE THEIR CAMERAS COMPATIBLE WITH BETA DECKS THAT’S HOW BIG INFLUENCE [WAS]. SOME SMALLER, INDEPENDENT STATIONS MAYBE WENT WITH SOME OF THAT STUFF, BUT I’D SAY 90% OF THE INDUSTRY WAS BETA.” “IT WAS [FOR] REPORTERS. IT WAS FOR NEWS AND VIDEO PRODUCTION.” KRONLUND ELABORATED ON THE CAMERA’S HISTORY IN PRODUCTION, NOTING, “IT’S BEEN IN THE BASEMENT FOR PROBABLY [TEN YEARS]…I FOUND IT IN AN OLD SHIPPING CONTAINER. THERE’S BEEN NUMEROUS UPGRADES TO CAMERAS SINCE THEN, SO NOTHING WAS DONE WITH IT. THE LAST TIME IT WAS USED I’M GOING TO GUESS [WAS] ROUGHLY TEN YEARS AGO, MAYBE MORE.” “I DOUBT YOU WOULD FIND ANYONE USING IT, BUT I WOULDN’T BE SURPRISED IF SOMEBODY HAD IT IN THEIR BASEMENT [FOR] THE SAME REASON OURS WAS. JUST OUT OF SIGHT, OUT OF MIND AND YOU’RE JUST GOING ABOUT YOUR DAY–TO-DAY BUSINESS, UNTIL YOU START CLEANING OUT THINGS AND YOU GO, “OH YEAH, THE OLD BBB1.”” “[WE ACQUIRED EQUIPMENT] USUALLY USED. CALGARY WOULD GET THE NEW STUFF AND THEN THE WORKING STUFF THAT THEY WERE REPLACING WOULD COME DOWN TO US, FOR THE MOST PART. THE CAMERAS WE HAVE NOW WERE BOUGHT BRAND NEW, STATE-OF THE-ART, SO THAT WAS NICE. IT IS NICE FOR THAT, BUT THIS WAS PROBABLY PRE-DATED EVEN ME AND I HAVE BEEN HERE TWENTY-EIGHT YEARS. IT WAS PROBABLY THE CAMERA THEY WERE USING, IF NOT AT THE TIME, BUT LIKELY BEFORE I STARTED.” “THIS [CAMERA] FUNCTIONS TODAY. I’M SURE YOU COULD MAKE PICTURES WITH IT, BUT THE USE OF IT WOULD PROBABLY BE, I’M GOING TO GUESS, MAYBE FIVE OR SIX YEARS. THEN [THE] BUDGETS WOULD [GROW], THEY GOT THIS NEW TECHNOLOGY YOU CAN SHOOT UNDER LESS LIGHT. IT’S A LIGHTER CAMERA AND [THEY] HAVE THESE BENEFITS, SO THEY WOULD BUDGET IN TO UPDATE THE CAMERAS AND DECKS. THROUGH THAT CYCLE, THAT IS WHEN WE WOULD PROBABLY GET A COUPLE OF NEW CAMERAS, THE OLDER STUFF WE’D PUT IN THE BASEMENT.” “I’M [NOW] CLEANING OUT OLD EQUIPMENT, BECAUSE IT BUILDS UP AND WE RUN OUT OF ROOM. IT’S SOMETHING HARD TO GET RID OF BECAUSE THEY’RE ALWAYS WORKING AND USUALLY WORKING AND FUNCTIONING FINE, BUT TECHNOLOGY PROGRESSES AND THEY BECOME BIGGER AND BETTER--OR THERE BECOMES BIGGER AND BETTER WAYS OF DOING THE SAME JOB. IT JUST GETS OUTDATED AND HITS THE SHELF. [I] HATE TO SEE IT JUST GET RECYCLED.” “I’M NOT REALLY THAT TYPE OF [NOSTALGIC] PERSON. THE CAMERAS TODAY ARE ALL DIGITAL, THEY GO RIGHT TO A SD CARD IN DIGITAL FORMAT. THERE’S NO MECHANICAL PARTS AND THAT’S PART OF THE REASON I WAS EMPLOYED BECAUSE SO MUCH OF WHAT I DID WAS BECAUSE PARTS WEAR OUT AND NEED TO BE FIXED AND REPLACED, WHERE THE NEW CAMERAS…IT’S NOT MUCH YOU CAN DO IF IT’S IN DIGITAL FORMAT AND [HAS] NO MECHANICAL MOVING PARTS. I DON’T MISS WORKING ON THEM, THAT COULD BE FRUSTRATING BECAUSE A LOT OF TINY LITTLE GEARS AND TIMING…YOU CAN SPEND HOURS AND NOT GET ANYWHERE, AND THEN FINALLY SHIP IT OUT TO THE MANUFACTURER BECAUSE YOU JUST COULDN’T GET ANYWHERE. YOU SPENT A WEEK WORKING ON IT AND NOW YOU’VE GOT TO, IN THE END, PAY SOMEONE TO DO IT. THOSE ARE FRUSTRATIONS, BUT IT IS SATISFYING WHEN YOU DO FIX A PROBLEM AND ARE ABLE TO FIX IT. BUT THOSE DAYS ARE BEHIND US AND I CAN’T SAY I MISS THEM. IT’S JUST DIFFERENT WAYS OF MAINTAINING CAMERAS NOW.” “IT’S HARD TO THROW OUT BECAUSE THE VALUE OF IT IS LIKE BUYING A CAR…AT THAT TIME. THAT’S WHAT YOU’RE DOING IS PUTTING A CAR ON YOUR SHOULDER, MAYBE NOT QUITE A CAR, BUT I’M GOING TO GUESS THIS CAMERA WAS PROBABLY FIFTEEN THOUSAND DOLLARS BACK THEN. THAT’S A LOT OF MONEY.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180005000-GA.
Catalogue Number
P20180005000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P20120045001
  2 images  
Material Type
Artifact
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Materials
WOOL, COTTON
No. Pieces
4
Length
42
Width
26
Description
A. RAGDOLL KNIT WITH WHITE, YELLOW, GREEN, RED, AND BLACK YARN. BODY IS WHITE WITH YELLOW UNDERWEAR, GREEN AND WHITE STOCKINGS, AND RED AND BLACK SHOES. DOLL HAS BRIGHT ORANGE HAIR MADE FROM YARN; FACE IS HAND-STITCHED WITH WHITE AND BLACK EYES, RED TRIANGULAR NOSE, AND RED FROWNING MOUTH. DOLL HAS RED YARN TIED AROUND HANDS. WHITE TAG ON BACK READS, IN BLACK, “HAND KNIT BY RESIDENTS OF FORESTER HAVEN”. DOLL SHOWS LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION. B. NECK-SCARF TIED TO DOLL; (33CM WIDE X 15CM LONG); RED COTTON TRIANGULAR NECK-SCARF WITH SCALLOPED EDGES. SCARF IS HEAVILY CREASED FROM BEING TIED ON THE DOLL; EDGES ARE FRAYED; OVERALL CONDITION IS VERY GOOD. C. GREEN AND WHITE DOTTED OVERALLS, WORN BY RAGDOLL. OVERALLS HAVE WHITE SCALLOPED TRIM AROUND ANKLES AND BIB; OVERALLS ARE SECURED WITH TWO WHITE PLASTIC AND METAL BUTTON-SNAPS. FRONT OF OVERALLS HAS FELT LETTERS “IOF” SEWN ON. OVERALLS SHOW LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION. D. HAT FOR RAGOLL; STYLE OF A BASEBALL CAP WITH GREEN AND WHITE DOTTED BRIM. CAP IS FORMED BY THREE TRIANGULAR GREEN AND WHITE DOTTED PATCHES AND THREE SOLID WHITE PATCHES WITH WHITE PLASTIC BUTTON SEWN ONTO TOP. CAP HAS GREEN THREAD STITCHED AROUND BASE EDGE AND SECURING BRIM. CAP SHOWS LITTLE SIGN OF WEAR; OVERALL EXCELLENT CONDITION.
Subjects
TOY
Historical Association
ASSOCIATIONS
History
ON AUGUST 21, 2018, COLLECTIONS TECHNICIAN INTERVIEWED LLOYD CAREFOOT REGARDING HIS DONATION OF MEMORABILIA RELATED TO COURT WINDY WEST (#562) LETHBRIDGE CHAPTER OF THE INDEPENDENT ORDER OF FORESTERS. CAREFOOT WAS ACTIVELY INVOLVED WITH THE FORESTERS WHILE HE LIVED IN EDMONTON, ALBERTA, AND CONTINUED HIS INVOLVEMENT FOLLOWING HIS MOVE TO LETHBRIDGE IN 1963. ON THE PURPOSE OF THE RAGDOLL, CAREFOOT NOTED, “THESE DOLLS…WERE PART OF WHAT WE USED FOR…THE PREVENTION OF CHILD ABUSE…THAT WAS ONE OF THE THINGS THAT WE USED IN ADVERTISING…OCCASIONALLY, WHEN THERE WAS SOMETHING GOING ON IN THE CITY, WE’D RENT A SPACE AND HAVE A BOOTH AND THIS WAS ONE OF THE THINGS THAT WE’D PROJECT.” “WE DIDN’T MAKE AND SELL THEM. IT WAS JUST A DEMONSTRATION OF CHILDREN, CAUGHT PEOPLE’S EYE.” “THIS TOOK PLACE [IN] CANADA AND THE UNITED STATES BECAUSE THE INDEPENDENT ORDER OF FORESTERS WAS BIG IN THE UNITED STATES AS WELL AND IT GREW OVER TO ENGLAND…WE WOULD HAVE ACTIVITIES WHERE WE COULD MAKE SOME MONEY AND WE’D DONATE IT TO THE GROUPS THAT WERE [PREVENTING] CHILD ABUSE…WE WOULD HAVE A PRINCESS IN THE VARIOUS COMMUNITIES CLOSE AROUND AND THEY WOULD SELL TICKETS FOR VARIOUS THINGS SO THAT WE WOULD ACCUMULATE THE MONEY…WE WOULD THEN DONATE [THE MONEY] ON BEHALF OF [THE BUYERS] TO [THE] PREVENTION OF CHILD ABUSE.” “TODAY, IT HAS SORT OF FLOATED DOWN TO WHERE IT’S HARDLY NEGLIGIBLE ANYMORE BECAUSE OTHER THINGS HAVE HAPPENED IN THE COMMUNITY THAT WERE PROBABLY DOING BETTER THAN WE WERE.” WHEN ASKED ABOUT HIS TIME SPENT IN THE FORESTERS, CAREFOOT RECALLED, “WE [WIFE RUTH AND LLOYD] WERE INVITED TO [AN] ACTIVITY. [IN THOSE] DAYS THERE [WERE] SOCIAL PARTIES…SOMEBODY THAT I KNEW INVITED ME TO COME AND I HEARD WHAT THEY WERE DOING. IT WAS SOMETHING THAT RUTH AND I THOUGHT…WOULD BE SOMETHING WE’D LIKE TO BE INVOLVED IN…MY FATHER WAS A MEMBER OF THE CANADIAN ORDER OF FORESTERS WHICH WAS A STAGE BEFORE THE INDEPENDENT ORDER OF FORESTERS.” “I BECAME A MEMBER IN EDMONTON… I WAS ONLY AS ASSOCIATE AT THAT TIME. WHEN WE MOVED DOWN HERE, WE BECAME MEMBERS HERE…MY FIRST WORKDAY WAS THE SECOND OF JANUARY, 1963 [IN LETHBRIDGE]. I WAS A FULL-BLOWN MEMBER IN 1966.” “[I JOINED BECAUSE OF] THE SATISFACTION THAT IT’S A STRONG CHARITABLE WAY OF DOING THINGS TO GIVE BACK. THAT’S PART OF MY PHILOSOPHY; JUST GIVE A LITTLE BACK FOR THE GOOD LIFE I’VE HAD.” “I WAS THE PRESIDENT OF THE LEAGUE…OF [THE] LETHBRIDGE CHAPTER. AND [I] WOUND UP WITH [THE TRUNK] AND IN IT [WERE] THESE THINGS. IT PRE-DATES ME.” “MOST OF THOSE THINGS WERE FOR MY PERSONAL USE…EITHER IN EVENTS OR A POSITION I HELD IN THE FORESTERS. I LOOK AT [THE OBJECTS] AND I SMILE.” REGARDING HIS DONATION, CAREFOOT ELABPRATED, “THE FORESTERS IN THE COMMUNITY DID A LOT OF CHARITY WORK AND I THOUGHT IT WAS A WAY OF COVERING FOR THE FUTURE [ABOUT] THE THINGS THAT WE DID, OR STILL DO. THAT WAS, MORE THAN ANYTHING ELSE, MY REASON FOR [DONATING IT] – A WAY OF PASSING IT ALONG SO IT JUST DIDN’T GET SHOVED IN THE JUNK…TO SOMEBODY IN THE FUTURE, IT INDICATES SOMETHING OF WHAT WE DID AND SOME ILLUSTRATION OF THINGS THAT WE DID. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20120045001-GA.
Catalogue Number
P20120045001
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P20120045002
  2 images  
Material Type
Artifact
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Materials
WOOL, COTTON
No. Pieces
2
Length
40
Width
26
Description
A.RAGDOLL WEARING GREEN AND WHITE DOTTED DRESS; DOLL IS KNIT FROM WOOL AND HAS BRIGHT ORANGE YARN HAIR. DOLL FACE IS HAND-STITCHED WITH WHITE AND BLACK EYES, RED NOSE AND RED FROWNING MOUTH SEWN INTO WOOL. DOLL HAS KNIT YELLOW PANTIES, GREEN AND WHITE STOCKINGS, AND RED AND BLACK SHOES ALL PART OF MAIN BODY. WHITE TAG ON BACK READS, IN BLACK, “HAND KNIT BY RESIDENTS OF FORESTER HAVEN”. DOLL SHOWS LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION. B. DOLL DRESS; GREEN AND WHITE WITH WHITE SCALLOPED HEM AND SLEEVES, AND WHITE COLLAR. DRESS HAS ELASTIC SLEEVES. DRESS ATTACHED AT BACK OF THE NECK WITH SILVER HOOK-CLASP. OVERALL EXCELLENT CONDITION.
Subjects
TOY
Historical Association
ASSOCIATIONS
History
ON AUGUST 21, 2018, COLLECTIONS TECHNICIAN INTERVIEWED LLOYD CAREFOOT REGARDING HIS DONATION OF MEMORABILIA RELATED TO COURT WINDY WEST (#562) LETHBRIDGE CHAPTER OF THE INDEPENDENT ORDER OF FORESTERS. CAREFOOT WAS ACTIVELY INVOLVED WITH THE FORESTERS WHILE HE LIVED IN EDMONTON, ALBERTA, AND CONTINUED HIS INVOLVEMENT FOLLOWING HIS MOVE TO LETHBRIDGE IN 1963. ON THE PURPOSE OF THE RAGDOLL, CAREFOOT NOTED, “THESE DOLLS…WERE PART OF WHAT WE USED FOR…THE PREVENTION OF CHILD ABUSE…THAT WAS ONE OF THE THINGS THAT WE USED IN ADVERTISING…OCCASIONALLY, WHEN THERE WAS SOMETHING GOING ON IN THE CITY, WE’D RENT A SPACE AND HAVE A BOOTH AND THIS WAS ONE OF THE THINGS THAT WE’D PROJECT.” “WE DIDN’T MAKE AND SELL THEM. IT WAS JUST A DEMONSTRATION OF CHILDREN, CAUGHT PEOPLE’S EYE.” “THIS TOOK PLACE [IN] CANADA AND THE UNITED STATES BECAUSE THE INDEPENDENT ORDER OF FORESTERS WAS BIG IN THE UNITED STATES AS WELL AND IT GREW OVER TO ENGLAND…WE WOULD HAVE ACTIVITIES WHERE WE COULD MAKE SOME MONEY AND WE’D DONATE IT TO THE GROUPS THAT WERE [PREVENTING] CHILD ABUSE…WE WOULD HAVE A PRINCESS IN THE VARIOUS COMMUNITIES CLOSE AROUND AND THEY WOULD SELL TICKETS FOR VARIOUS THINGS SO THAT WE WOULD ACCUMULATE THE MONEY…WE WOULD THEN DONATE [THE MONEY] ON BEHALF OF [THE BUYERS] TO [THE] PREVENTION OF CHILD ABUSE.” “TODAY, IT HAS SORT OF FLOATED DOWN TO WHERE IT’S HARDLY NEGLIGIBLE ANYMORE BECAUSE OTHER THINGS HAVE HAPPENED IN THE COMMUNITY THAT WERE PROBABLY DOING BETTER THAN WE WERE.” WHEN ASKED ABOUT HIS TIME SPENT IN THE FORESTERS, CAREFOOT RECALLED, “WE [WIFE RUTH AND LLOYD] WERE INVITED TO [AN] ACTIVITY. [IN THOSE] DAYS THERE [WERE] SOCIAL PARTIES…SOMEBODY THAT I KNEW INVITED ME TO COME AND I HEARD WHAT THEY WERE DOING. IT WAS SOMETHING THAT RUTH AND I THOUGHT…WOULD BE SOMETHING WE’D LIKE TO BE INVOLVED IN…MY FATHER WAS A MEMBER OF THE CANADIAN ORDER OF FORESTERS WHICH WAS A STAGE BEFORE THE INDEPENDENT ORDER OF FORESTERS.” “I BECAME A MEMBER IN EDMONTON… I WAS ONLY AS ASSOCIATE AT THAT TIME. WHEN WE MOVED DOWN HERE, WE BECAME MEMBERS HERE…MY FIRST WORKDAY WAS THE SECOND OF JANUARY, 1963 [IN LETHBRIDGE]. I WAS A FULL-BLOWN MEMBER IN 1966.” “[I JOINED BECAUSE OF] THE SATISFACTION THAT IT’S A STRONG CHARITABLE WAY OF DOING THINGS TO GIVE BACK. THAT’S PART OF MY PHILOSOPHY; JUST GIVE A LITTLE BACK FOR THE GOOD LIFE I’VE HAD.” “I WAS THE PRESIDENT OF THE LEAGUE…OF [THE] LETHBRIDGE CHAPTER. AND [I] WOUND UP WITH [THE TRUNK] AND IN IT [WERE] THESE THINGS. IT PRE-DATES ME.” “MOST OF THOSE THINGS WERE FOR MY PERSONAL USE…EITHER IN EVENTS OR A POSITION I HELD IN THE FORESTERS. I LOOK AT [THE OBJECTS] AND I SMILE.” REGARDING HIS DONATION, CAREFOOT ELABPRATED, “THE FORESTERS IN THE COMMUNITY DID A LOT OF CHARITY WORK AND I THOUGHT IT WAS A WAY OF COVERING FOR THE FUTURE [ABOUT] THE THINGS THAT WE DID, OR STILL DO. THAT WAS, MORE THAN ANYTHING ELSE, MY REASON FOR [DONATING IT] – A WAY OF PASSING IT ALONG SO IT JUST DIDN’T GET SHOVED IN THE JUNK…TO SOMEBODY IN THE FUTURE, IT INDICATES SOMETHING OF WHAT WE DID AND SOME ILLUSTRATION OF THINGS THAT WE DID. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20120045001-GA.
Catalogue Number
P20120045002
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Other Name
WATER VALVE WRENCH
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
IRON
Catalogue Number
P20170013000
  1 image  
Material Type
Artifact
Other Name
WATER VALVE WRENCH
Date Range From
1950
Date Range To
1960
Materials
IRON
No. Pieces
1
Length
125
Width
43
Description
WATER VALVE WRENCH; IRON RODS WELDED TOGETHER; RODS FORM A CROSS AT TOP WHERE ROD WITH TWO SOCKET ENDS IS FITTED TO LONGER ROD. TOP OF ROD HAS AN IRON WEDGE OR CHISEL ATTACHED. BASE OF ROD HAS ROUNDED END WITH CUT-OUT THROUGH CENTER. WRENCH IS RUSTED AND RUBBED ALONG BOTTOM AND TOP LEFT AND RIGHT SECTIONS. OVERALL GOOD CONDITION.
Subjects
METALWORKING T&E
Historical Association
BUSINESS
History
ON FEBRUARY 28, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BETTY AND BRIAN ILLINGWORTH ABOUT THEIR DONATION OF A WATER VALVE WRENCH. THE WRENCH WAS USED BY THE ILLINGWORTH’S AT THEIR LETHBRIDGE DRY-CLEANING BUSINESS TO SHUT OFF WATER WHILE WORKING ON THEIR BOILER. ON THE PURPOSE OF THE WRENCH, BRIAN NOTED, “WHEN I WAS WORKING ON THE BOILER…I HAD TO SHUT THE WATER OFF, TO MAKE SURE THAT I WOULDN’T LET ANY STEAM GO, TO PUSH THE WATER BACK.” “WITH [THE WRENCH] YOU COULD SHUT THE WATER OFF [FROM] WHERE IT CAME IN – THE CITY BROUGHT IT IN. YOU COULD TAKE THAT CAP OFF, AND GO DOWN AND SHUT THE WATER OFF. WE WOULD USE THAT WHERE THE MAIN LINE WAS COMING INTO THE STORE TO SHUT THE WATER OFF. [THE MAIN LINE] WAS IN THE SIDEWALK. WE WERE CONTROLLING THE WATER PRESSURE.” WHEN ASKED WHY THEY HAD A BOILER IN THE BUSINESS, BRIAN ELABORATED, “WE HAD TO HAVE STEAM TO PRESS THE CLOTHES.” “[THE BOILER] PROBABLY CAME FROM WINNIPEG. YOU’VE GOT TO HAVE A BOILER, AND THEN YOU’VE GOT TO HAVE A TICKET TO RUN THE BOILER. [BETTY] ENDED UP GETTING A TICKET, BECAUSE I WAS AWAY A LOT, PICKING UP AND DELIVERING CLEANING, I WASN’T THERE. SOMEBODY HAD TO BE THERE, WITH A TICKET, SO SHE GOT ONE. THERE’S A PICTURE OF HER IN THE HERALD, WORKING ON THAT BLOODY BOILER.” BRIAN RECALLED MOVING TO LEHBRIDGE AND OPERATING THE DRY-CLEANING BUSINESS, STATING, “[IT WAS] THE ONE DOWNTOWN, ON EIGHTH STREET…[CALLED] SPIC AND SPAN.” “[WE MOVED FROM PINCHER CREEK TO LETHBRIDGE] AFTER THE WAR WAS OVER. I WAS IN THE SERVICE FOR 5 YEARS.” “WE HAD [RUN A DRY-CLEANING BUSINESS] IN PINCHER CREEK. WHEN WE CAME HERE, WE BOUGHT DIFFERENT EQUIPMENT, AND WE INCREASED OUR BUSINESS. THEN WE USED TO HAVE PICK UP HERE – I WOULD PICK-UP AND DELIVER YOU KNOW. THANK GOD THEY DON’T DO THAT, ANYMORE! IT WOULD BE TOUGH THE WAY THE TRAFFIC IS NOW. IT WOULD BE TOUGH TO TRY TO DELIVER. YOU’D BE STUCK IN TRAFFIC.” “WE HAD A FIRE [IN PINCHER CREEK]. WE USED VARSOL…WE BUILT A SMALL SHACK AWAY FROM OUR BUILDING, AND THAT’S WHERE WE DID THE CLEANING, BUT IT CAUGHT FIRE ONE DAY…IT ALL BURNED UP, SO WE CAME TO LETHBRIDGE, AND [FOUND] OUT, FROM ANOTHER CLEANERS HERE, WHERE WE COULD GET NEW EQUIPMENT. WE WENT DOWN TO GREAT FALLS TO GET IT.” “I DON’T KNOW [WHY WE CHOSE LETHBRIDGE]. WE WERE TALKING TO SOMEBODY [BETTY] KNEW, AND HE SUGGESTED THAT PLACE.” BETTY NOTED, “THERE WAS A BUILDING AVAILABLE. THAT WAS ANOTHER THING, ‘CAUSE IT WAS SORT OF OUT-OF-THE-WAY.” “WHEN WE LEFT PINCHER, I WAS DRESS-MAKING…IT SORT OF MATCHED UP [WITH THE DRY-CLEANING BUSINESS] BECAUSE THERE WAS TAILORING POSSIBILITIES IN THIS BUILDING.” “OURS WAS DRY-CLEANING. MOST OF THE OTHERS WERE…SELF-LAUNDRY. THE OTHER BIG DRY-CLEANERS WAS BART-NEILSEN.” BRIAN RECALLED, “IN THOSE DAYS, SOME WOMEN THEY SENT THEIR SHIRTS AND STUFF, AND COLLARS OUT. THEY DIDN’T WANT TO DO IT AT HOME. THEY SENT IT OUT TO US. IT’S A DIFFERENT BALLGAME.” “[WE WORKED] A LOT OF LATE HOURS, TOO. WE THOUGHT NOTHING OF WORKING, WHEN WE STARTED IN THE MORNING, TILL MAYBE NINE OR TEN AT NIGHT. THEN THE BUILDING WE WERE IN, THERE WAS A RADIATOR SHOP IN ONE HALF THE BUILDING, AND WE WERE IN THE OTHER HALF. THE GUY THAT OWNED THE BUILDING CAME DOWN HERE…HE SAID HE WAS SELLING THE BUILDING, BUT HE WOULDN’T SELL IT TO ANYBODY ELSE, IF WE WANTED [IT]. WE BOUGHT THE BUILDING, AND THEN WE HAD TO KICK THE GUY OUT, THAT HAD THE RADIATOR SHOP – TOM DELANEY– IT’S TOM’S RADIATOR NOW. HE WAS A VERY GOOD GUY - HUNGARIAN BOY. HE WAS OFF THE FARM. HE BUGGERED HIMSELF UP…STRONG KID FROM THE FARM. HE’D PICK UP THE…RADIATOR [AND] BUGGERED HIS BACK UP. THEN FINALLY HE GOT RID OF THAT, AND DID IT ALL AUTOMATIC.” “[WE RAN THE BUSINESS] AT LEAST SIXTY [YEARS]” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20170013000-GA.
Catalogue Number
P20170013000
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Material Type
Artifact
Materials
CERAMIC, PAINT
Catalogue Number
P20150037000
  1 image  
Material Type
Artifact
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Materials
CERAMIC, PAINT
No. Pieces
1
Height
5.08
Width
12.4
Description
BLACK, CERAMIC ASHTRAY. THE INSIDE OPENING OF THE ASHTRAY IS 6.4 CM. THE LETTERING ON THE TOP SAYS “THE MARQUIS HOTEL, LETHBRIDGE, ALBERTA, CANADA.” THERE IS AN ABSTRACTED FLORAL DESIGN ON EITHER SIDE OF THIS LETTERING. THE FLOWERS ARE PAINTED RED AND THEIR STEMS PAINTED GREEN. THIS WORDING AND DESIGN REPEATS ON THE OPPOSITE SIDE. THE LETTERING ON THE BOTTOM SAYS, “MADE IN JAPAN 29.” VERY GOOD CONDITION. USED WITH SOME WEAR APPARENT. BLACK PAINT IS WEARING OFF ON SOME PARTS OF THE SURFACE. SIGNIFICANT WEAR TO THE RED AND GREEN PAINT OF THE DECALS.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
BUSINESS
History
ON DECEMBER 16, 2015, DONOR CHRIS MORRISON INFORMED COLLECTIONS TECHNICIAN KEVIN MACLEAN THAT SHE CAME INTO POSSESSION OF THE ASHTRAY WHEN SHE AND HER HUSBAND BECAME STEWARDS OF A WATERTON CABIN IN 1976. THE CABIN, LOCATED AT 103 CAMERON FALLS, WAS OWNED BY HER MOTHER-IN-LAW DOROTHY MORRISON (D. 1995). IT WAS AMONG ASSORTED FURNISHINGS LEFT BEHIND WHEN DOROTHY MOVED OUT AND CHRIS MOVED IN. THE DONOR’S RECOLLECTION OF THE ASHTRAY’S USE IMMEDIATELY PRIOR TO IT BECOMING HER PROPERTY WAS AS A CONTAINER. MORRISON SAID, “IT WAS IN A [CABIN] WASHSTAND AND USED TO HOLD LITTLE OBJECTS LIKE ROLLED UP KEROSENE LANTERN TAPE WICKS”. ACCORDING TO MORRISON, IT WAS ALSO KNOWN AS “GRANDPA’S ASHTRAY”. GRANDPA REFERS TO JAMES J. MORRISON OF LETHBRIDGE. “HE ONLY SMOKED CIGARS” SAID THE DONOR, WHEREAS HER MOTHER-IN-LAW DOROTHY DID NOT SMOKE AT ALL. THE ASHTRAY’S USE AS A CONTAINER FOR LANTERN WICKS AND SMALL ITEMS CONTINUED RIGHT UP TO THE DAY THAT IT WAS OFFERED TO THE GALT IN 2015. ACCORDING TO HER OBITUARY IN THE LETHBRIDGE HERALD, DOROTHY MORRISON, PASSED AWAY IN LETHBRIDGE ON NOVEMBER 26, 1995 AT THE AGE OF 83 YEARS. JAMES JACOB MORRISON, DOROTHY’S FATHER-IN-LAW, PASSED ON FEBRUARY 18TH, 1975 AT AGE 93. THE ASHTRAY IS MARKED WITH “MARQUIS HOTEL,” WHICH COULD REFER TO THE LETHBRIDGE HOTEL THAT OPENED IN JUNE 1928. REALIZING A NEED FOR A FIRST-CLASS HOTEL IN LETHBRIDGE, ESPECIALLY ONE WITH A BANQUET HALL, THE BUSINESSMEN OF THE BOARD OF TRADE COMMITTED THEMSELVES TO THE HOTEL IN 1927. AFTER ITS OPENING, THE BOARD OF TRADE WOULD HOLD THEIR REGULAR, NOON-HOUR MEETINGS AT THE HOTEL FOR MANY YEARS TO COME. THE HOTEL CLOSED ITS DOORS IN 1985 AND THE BUILDING WAS DEMOLISHED IN 1988. THIS INFORMATION COMES FROM LETHBRIDGE HERALD ARTICLES AND A WRITE-UP ABOUT THE HOTEL IN THE PUBLICATION TITLED "WHERE WAS IT? A GUIDE TO EARLY LETHBRIDGE BUILDINGS," BY IRMA DOGTEROM. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND A COPY OF THE INFORMATION FROM THE PUBLICATION CITED ABOVE.
Catalogue Number
P20150037000
Acquisition Date
2015-12
Collection
Museum
Images
Less detail
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160019000
  1 image  
Material Type
Artifact
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Materials
PAPER, INK
No. Pieces
1
Height
24
Length
7.4
Width
7.2
Description
CARDBOARD MILK CARTON. SIDE ONE HAS “HOMOGENIZED MILK” ON TOP FOLD IN GREEN BLOCK LETTERING. FADED, BLACK INK STAMP ON THIS FOLD SAYS “?A 2 -45.” ON THE MAIN SECTION OF THIS SIDE THERE IS THE PURITY LOGO (“PURITY” IN PURPLE CURSIVE FONT), A PURPLE AND GREEN FLOWER, AND THE WORDS “CREAM IN EVERY DROP” IN PURPLE CURSIVE. ON THE BASE OF THIS PANEL IT SAYS “… HEAD OFFICE LETHBRIDGE.” THE OPPOSING SIDE (SIDE 3) IS SIMILAR, BUT WITH THE INDICATION OF “NET CONTENTS ONE QUART” AT THE BASE OF THE PANEL. SIDE 2’S TOP FOLD SAYS, “THE CONTAINER COVERED BY CANADIAN PATENTS 1941 – 395.645 1957 – 542-432… MANUFACTURED UNDER LICENSE FROM EX-CELL-O CORPORATION.” THE MAIN SECTION HAS THE PURITY LOGO AND THE SLOGANS “IT’S PURE. THAT’S SURE” AND “YOURS TO LOVE. OURS TO PROTECT.” ADDITIONALLY THIS SIDE INDICATED THAT THE MILK IS “PASTURIZED” AND IS “NOT LESS THAN 3.25% B.F.” PARALLEL TO THAT IS SIDE 4 WITH A TOP FOLD THAT HAS “SPOUT” MARKED ON IT. ON THE TOP FOLD, IT SAYS “PUREPAK” “YOUR PERSONAL MILK CONTAINER.” THE MAIN SECTION OF THIS HAS A GREEN ILLUSTRATION OF A CHURCH WITH “ATTEND THE CHURCH OF YOUR CHOICE…” ON THE BOTTOM OF THE CARTON, THERE ARE NUMBERS AND/OR LETTERS THAT WERE STAMPED INTO THE BOTTOM. A “W” IS VISIBLE. GOOD CONDITION. COLOUR OF CARDBOARD HAS YELLOWED OVERALL. THERE ARE VARIOUS STAINS ON THE SURFACE. BLACK STAINING AROUND THE CHURCH ILLUSTRATION. THE TOP FLAP OF THE CARTON IS DETERIORATING (BENT/TORN) WITH NOTICEABLE LOSS OF MATERIAL ON ONE SIDE’S CORNER.
Subjects
CONTAINER
Historical Association
BUSINESS
INDUSTRY
History
THE DONOR, HANK VROOM, FOUND THE MILK CARTON IN LETHBRIDGE APPROXIMATELY A DECADE BEFORE THE DATE OF DONATION (JULY 2016), AS A RESULT OF HIS CITY EMPLOYMENT AS A GARBAGE TRUCK DRIVER. THE LOCATION OF THE FIND IS UNKNOWN. IN THE TIME SINCE HIS POSSESSION, THE CARTON HAS BEEN IN A PLASTIC BAG IN A CUPBOARD. ACCORDING TO ADDITIONAL RESEARCH INTO THE EXISTENCE OF THIS TYPE OF MILK CARTON AND BRAND, IT IS ESTIMATED THAT THIS CARTON ORIGINATED PRIOR TO THE MID-1970S BECAUSE MILK MEASUREMENTS WERE CHANGED FROM QUARTS TO LITERS AROUND THAT TIME AND THIS CARTON’S MEASUREMENT IS INDICATED IN QUARTS. IN THE LATE 1950’S, PURITY DAIRY ADVERTISED BEING 100% PURE-PAK, MEANING THAT ALL MILK PRODUCTS CAME IN CARDBOARD CARTONS. BLOW MOLD PLASTIC CONTAINERS REPLACED CARDBOARD SHORTLY AFTER. WITH THE INDICATION OF THE 1957 PATENT NUMBER ON THE CARTON, THIS PLACES THE DATE OF THE MILK CARTON BETWEEN 1957 AND THE 1970S. THE FOLLOWING INFORMATION ABOUT PURITY DAIRY IS FROM THE RECORD FOR ARTIFACT P20070013001: SIMONIE (SAM) FABBI STARTED FABBI DAIRY IN 1923 IN LETHBRIDGE. HE WAS AN ITALIAN IMMIGRANT WHO BEGAN THE BUSINESS WITH THREE COWS AND SOME LARD BUCKETS. THE DAIRY WAS LOCATED AT 12 STREET B NORTH. AT THAT TIME, MILK WAS TRANSPORTED USING LARD PAILS OR CANS, WHICH, WITH THE HELP OF SAM’S SONS, WOULD BE LADLED INTO CUSTOMER’S CONTAINERS. FABBI DAIRY EXPANDED TO THE SOUTHSIDE DAIRY HILL IN THE EARLY 1930S. SHORTLY AFTERWARDS, FABBI DAIRY BOUGHT CITY DAIRY. SONS STAN AND ROMEO BOUGHT THE BUSINESS FROM THEIR FATHER IN 1936. AT THIS POINT, MILK WAS PACKAGED AND SOLD IN GLASS BOTTLES IN PINT, QUART OR GALLON SIZES. THE DAIRY HAD ITS OWN COWS, WHICH WERE MILKED DAILY AND WOULD PASTURE IN THE COULEES. BY 1936, HOWEVER, MILK AND CREAM WERE BROUGHT IN FROM OFFSITE. BETWEEN 1939 AND 1944, THE FABBI DAIRY BOUGHT PAVAN DAIRY AND THE BELLEVUE DAIRY. AT THAT POINT IN TIME, MANY SMALL DAIRIES WERE SUBJECT TO PASTEURIZATION LAWS, AND CHOSE TO CLOSE DOWN RATHER THAN CONVERT. FABBI DAIRY PURCHASED MAJESTIC THEATRE IN THE LATE 1930S OR EARLY 1940S FOR $10,000 FROM MAYOR SHACKERFORD, CONVERTING IT INTO A MILK BOTTLING PLANT. FABBI DAIRY CHANGED ITS NAME TO PURITY DAIRY, AND EXPANDED THROUGHOUT THE LATE 1940S AND 1950S, OPENING UP BUSINESSES IN MEDICINE HAT (1948), CALGARY (1950), EDMONTON (1950), CRANBROOK (1958), RED DEER AND TABER. ALL THESE LOCATIONS HAD DAIRIES EXCEPT FOR TABER, WHICH HAD A DEPOT. ACCORDING TO KEN FABBI, STAN FABBI’S SON, STAN AND ROMEO ESTABLISHED A DAIRY IN CALGARY WITHOUT A LICENSE. THE ONLY WAY TO OBTAIN A LICENSE FOR A DAIRY AT THAT TIME WAS TO BUY OUT AN EXISTING DAIRY. EXPANSION WAS SEEN AS NECESSARY TO THE FABBI BROTHERS, IF THEY WERE TO REMAIN IN BUSINESS. THE PURITY DAIRY IN CALGARY WAS DEEMED ILLEGAL, AND IN THE EARLY 1960S, STAN AND ROMEO FABBI WERE HANDCUFFED AND ARRESTED. PUBLIC SYMPATHY FOR THE FABBI BROTHERS ENABLED THEM TO PURCHASE A LICENSE AFTER THE INCIDENT. PURITY DAIRY HAD MANY INNOVATIVE PRODUCTS THAT OTHER DAIRIES IN TOWN DID NOT HAVE, LIKELY CONTRIBUTING TO THE DAIRY’S POPULARITY WITH THE PUBLIC. PURITY DAIRY WAS THE FIRST DAIRY IN WESTERN CANADA TO RELY SOLELY ON THE USE OF MILK TANKERS, WHICH VISITED VARIOUS LOCALS TO PICK UP MILK AND BRING IT TO THE DAIRY. PRIOR TO 1957, FARMERS WERE REQUIRED TO DELIVER MILK IN CANS TO THE DAIRY THEMSELVES. PURITY DAIRY HAD A SUBSTANTIAL FLEET OF RETAIL DELIVERY VEHICLES. IN ITS EARLY DAYS, HORSES WERE AN INTEGRAL PART OF THE DELIVERY SYSTEM. AT ONE POINT, 17 HORSES WERE BEING USED FOR DELIVERY PURPOSES. IN 1959, PURITY DAIRY REPLACED ITS LAST THREE HORSES WITH DELIVERY TRUCKS. IN THE 1950S, PURITY DIARY BEGAN TO STREAMLINE PRODUCTION. BUTTER WAS PRODUCED IN MEDICINE HAT, WHILE THE LETHBRIDGE BRANCH PRODUCED ICE CREAM, NOVELTIES, BUTTER MILK, AND SOUR CREAM, IN ADDITION TO MILK AND COTTAGE CHEESE. THE EDMONTON PLANT SHARED MILK PRODUCTION WITH LETHBRIDGE, AND BECAME THE SOLE PRODUCER OF BLOW MOLD PLASTIC FOR PURITY DAIRY. BUSINESS BEGAN TO FALL IN THE 1960S, AND IN 1971 STAN AND ROMEO FABBI SOLD PURITY DAIRY TO CO-OP DAIRY, WHICH WAS SUBSEQUENTLY KNOWN AS PURITY CO-OP LTD. BEFORE THE SALE, PURITY DAIRY EMPLOYED ABOUT 200 FULL-TIME STAFF AND SUPPLIED MILK PRODUCTS TO THOUSANDS OF ALBERTANS DAILY. THE LETHBRIDGE PLANT EMPLOYED ABOUT 70 PEOPLE, AND MANUFACTURED ICE CREAM CONFECTIONS, COTTAGE CHEESE, BUTTER, YOGURT, BUTTERMILK, SOUR CREAM, AND FRUIT DRINKS. STAN’S WIFE, NETTI, SAID OF THE SALE, “WE LOST EVERYTHING…WE EXPANDED TOO FAST. I TOLD STAN ‘WHO CARES? I’VE GOT YOU AND WE STILL HAVE THREE MEALS A DAY.’” IN 1972, PURITY CO-OP LTD WAS BOUGHT OUT BY PALM DAIRY, WHICH WAS CLOSED DOWN FOLLOWING A DRAMATIC EXPLOSION IN 1978. IT REOPENED AT A DIFFERENT LOCATION ONE YEAR LATER. IN THE INTERIM, PRODUCTS WERE SHIPPED IN FROM THE CALGARY PLANT. STAN AND ROMEO FABBI DIED IN 1992 AND 1991, RESPECTIVELY. THIS INFORMATION WAS GATHERED IN 2008-09 FROM ANTOINETTE AND KEN FABBI, STAN’S WIFE AND SON, RESPECTIVELY, AND FROM THE LETHBRIDGE HERALD ARCHIVES. FOR MORE INFORMATION, SEE PERMANENT FILE FOR P20070013001. SEE PERMANENT FILE FOR P20160019000 FOR ADDITIONAL LETHBRIDGE HERALD CLIPPINGS, PRINT RESEARCH, AND PATENT DOCUMENTS.
Catalogue Number
P20160019000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail

PROJECTOR, MOTION-PICTURE

https://collections.galtmuseum.com/en/permalink/artifact13342
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
STEEL, GLASS, PLASTIC
Catalogue Number
P20120038001
  2 images  
Material Type
Artifact
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Materials
STEEL, GLASS, PLASTIC
No. Pieces
4
Height
202
Length
57
Description
A. PROJECTOR, FILM. GREY METAL BODY FIXED AT FRONT WITH MOTIOGRAPH AA PROJECTOR MECHANISM. BACK OF THE BODY HAS POWER (“ON/OFF”) AND IGNITE SWITCHES; BACK HAS GAUGES WITH GLASS COVERS MARKING HOURS (“16270”) AND 0-100 MV. BACK HAS SILVER LABEL WITH BLACK TEXT “STRONG X-16 TWO-SIDE LAMPHOUSE, D.C. VOLTS 28-32, D.C. AMPS. 60-95, TYPE NO. 76002-3, SERIAL NO. 65196, MFD. BY THE STRONG ELECTRIC CORP., TOLEDO, OHIO, UNITED STATES OF AMERICA, 76100” AND A BLUE STICKER ON LABEL “CSA SPECIAL TESTING LABORATORIES, S108124, ACCEPTANCE”. BACK HAS THREE BLACK DIALS MARKED “V”, “H”, “F”; FRONT HAS THREE BLACK DIALS MARKED “V”, “H”, “F” ON BLACK METAL PLATE WITH WHITE TEXT “VERT”, “HORTZ”, “FOCUS”. BASE HAS A WHITE SWITCH BENEATH THE MAIN LAMP HOUSE. LAMP HOUSE SIDE HAS HINGED COVER WITH SILVER AND RED PLATE FIXED TO COVER, “CAUTION, USE FACE MASK, OBSERVE SAFETY RULES, ALLOW LAMP TO COOL 10 MIN BEFORE OPENING DOORS”. FRONT HAS REEL MOUNTS FIXED TO TOP AND BOTTOM; TOP REEL MOUNT IS MARKED “A-675” AND HAS SILVER SHIPPING REEL WITH 35MM FILM ATTACHED (B); BOTTOM REEL MOUNT IS MARKED A-676 AND HAS EMPTY SILVER SHIPPING REEL ATTACHED (D). BENEATH REEL MOUNT IS MOUNTED ELECTRIC CHANGEOVER MECHANISM; UNFINISHED STEEL WITH SILVER SCREWS AND INSERTS; SILVER PLATE ON FRONT OF MECHANISM HAS RED TEXT READING “ZIPPER” AND BLACK TEXT READING “ELECTRIC CHANGEOVER, PATENT 1796970, OTHER PATS. PEND., MODEL 14-14, SERIAL 2537, VOLTS 117 A.C., AMPS 2, MFD. BY ESSANNAY ELECTRIC MFG., G.G., 1438 N. CLARK ST., CHICAGO 10, ILL.” MOTIOGRAPH AA PROJECTOR MECHANISM HAS LENS ATTACHED AT FRONT (C); MOTIOGRAPH AA PROJECTOR MECHANISM HAS RED DIAL BESIDE FRONT CHAMBER COVER WITH WHITE TEXT “FRAME”. MOTIOGRAPH AA PROJECTOR MECHANISM HAS HINGED CHAMBER COVER WITH FRONT FIXED SILVER PLATE WITH RED TEXT READING “MOTIOGRAPH” IN RED, AND YELLOW AND BLACK LABEL READING “SHARP’S THEATRE SUPPLIES LIMITED, FILM EXCHANGE BUILDING, PHONE M-4076—CALGARY, ALBERTA.” INSIDE HINGED CHAMBER COVER IS WHITE LABEL “UL, MODEL AA, FRAMING LAMP 120V 25W, MOTIOGRAPH INC., CHICAGO”. BENEATH IS LOWER CHAMBER WITH STEEL AND GLASS HINGED COVER. BASE OF LAMP HOUSE PEDESTAL IS SCRATCHED; INSIDE OF MOTIOGRAPH AA PROJECTOR MECHANISM TOP CHAMBER IS DETACHED BLACK METAL SLIDE WITH CENTER CUT OUT AND RED KNOB AT THE END. OVERALL PROJECTOR AND COMPONENTS IN GOOD CONDITION. B. FILM REEL, 37.2CM DIAMETER X 4.3CM DEEP, INCLUDES 35MM FILM. SHIPPING REEL; UNFINISHED PRESSED STEEL; FIXED WITH UNMARKED WHITE TAPE. REEL IS HANDMARKED WITH RED “T”. C. LENS, PROJECTOR, 41.7CM LONG X 11.5CM DIAMETER. CINEMASCOPE/ANAMORPHIC (LONG LENS) FORMAT. BRASS END COMPONENT IS STAMPED “SUPER SNAPLITE”, “KOLLMORGEN OPTICAL CORP”, “BX 241 F:1.9 3 ¼ IN.” SILVER LENS COMPONENT IS MARKED “MADE IN JAPAN, 19313, PROMINAR ANAMORPHIC”. LENS FRONT IS BLACK; LENS GOES TO 350 FEET. D. FILM REEL, 37CM DIAMETER X 5.3CM DEEP, SHIPPING. UNFINISHED PRESSED STEEL, EMPTY, HANDMARKED IN RED “2” AND ON MASKING TAPE IN BLACK “7”. FIXED TO LOWER REEL MOUNT ON PROJECTOR.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
BUSINESS
LEISURE
History
ON APRIL 11, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LARRY AND ANDREA BECKER, OWNERS OF THE FORMER WATERTON THEATRE IN SOUTHERN ALBERTA WHERE THE PROJECTION EQUIPMENT WAS USED. DURING THE INTERVIEW, THE BECKERS ELABORATED ON HOW THEIR THEATRE CLOSED, HOW THE EQUIPMENT WAS USED IN THEIR THEATRE, AND HOW AL ANCTIL CAME INTO POSSESSION OF THE THEATRE PROJECTION EQUIPMENT. LARRY BECKER SPOKE TO HOW ANCTIL BECAME THE OWNER AND DONOR OF THE EQUIPMENT, STATING, “THIS EQUIPMENT IS BUILT AND DESIGNED TO EXHIBIT 35 MM MOTION PICTURE FILM. IN 2011, WHEN WE DISPOSED OF THE EQUIPMENT, FILM WAS BECOMING OBSOLETE. IT WAS NO LONGER AVAILABLE TO US AS AN EXHIBITION MEDIUM, SO WE WERE FACED WITH THE CHALLENGE OF CONVERTING TO A DIGITAL PROJECTION, IF WE WANTED TO CONTINUE SHOWING MOTION PICTURES. WE HAD TO GET RID OF THIS, AND AL [ANCTIL] THOUGHT HE HAD A USE FOR IT. AT THE TIME, HE WAS SELLING US COFFEE. WE WERE RUNNING A COFFEE SHOP IN THE THEATRE, SO WE HAD THAT RELATIONSHIP WITH AL; AND I’M NOT SURE WHY AL WANTED IT…I DON’T KNOW IF HE EVER INTENDED TO USE IT. I THINK, UNDER CERTAIN CIRCUMSTANCES, IT MIGHT BE USEFUL, IF SOMEBODY COULD ACCESS SOME 35 MM FILM TO RUN THROUGH IT. WHEN WE HEARD THAT AL WANTED IT, WE SAID “SURE, YOU CAN HAVE IT AL. WE NO LONGER HAVE ANY USE FOR IT.”” “IT WAS THE COST OF THE CONVERSION [THAT INFLUENCED OUR DECISION TO CLOSE]. INITIALLY, WHEN ALL OF THE THEATRES WERE FACED WITH THE CONVERSION, WITHIN A VERY SHORT WINDOW, THE DEMAND FOR THE EQUIPMENT WAS VERY HIGH; COSTS WERE VERY HIGH, AND IT JUST WASN’T FINANCIALLY VIABLE IN A SEASONAL OPERATION, SO WE DECIDED NOT TO PROCEED, AT THAT TIME, WITH THE DIGITAL UPGRADING/CONVERSION. WE WERE WORKING QUITE HARD, BECAUSE WE WERE RUNNING A COFFEE SHOP, AN ICE CREAM STORE, AND A MOVIE THEATRE. THE MOVIE THEATRE WAS THE FUN PART OF IT.” “WE WERE AT THE END OF OUR LAST SEASON IN 2011, AND WE HAD WORKED OUT AN ARRANGEMENT WITH THE TENANT, TO TAKE IT OVER, TO RUN IT AS A ‘STAGE AND GRILL’ KIND OF OPERATION. THEY WERE GOING TO PUT A KITCHEN IN, AND SERVE MEALS, AND PRESENT MUSIC ACTS ON STAGE.” ON THE PROJECTOR, LARRY BECKER INDICATED, “IT WAS OLD [IN 2011]. IT WAS VERY WELL-DESIGNED, AND BUILT EQUIPMENT, WHEN IT WAS NEW. THE PROJECTOR IS…THE HEART OF THE OPERATION, AND IT’S A MOTIOGRAPH PROJECTOR WITH THE MOTIOGRAPH SOUND HEAD…AND THAT WAS PROBABLY NEW IN THE LATE '40S OR EARLY ‘50S, WHEN THE MOTION PICTURE INDUSTRY WAS IN AN ABSOLUTE HEY-DAY. HUGE INVESTMENTS WERE MADE IN DEVELOPING HIGH QUALITY EQUIPMENT FOR THE MOTION PICTURE EXHIBITIONS. THIS PROJECTOR, EVEN THOUGH IT WAS VERY OLD, BENEFITTED FROM THAT DESIGN PERIOD, AND WAS STILL WORKING REASONABLY WELL.” “WE REPLACED THE LAMP HOUSE [FROM AN OLD CARBON ARC LAMP TO…A ZENON BULB AS A LIGHT SOURCE]. [WE PICKED UP BULBS AND EQUIPMENT] FROM ‘TEN STORIES’. “[THERE WOULD BE A] BELL HERE, BEFORE WE PUT THE PLATTER SYSTEM IN… [THE BELL] WAS ATTACHED TO THE PROJECTOR, AND THIS WAS WHEN THESE SMALL 20 MINUTE REELS WOULD BE LOADED ON TO THIS REEL LINE, AND WHEN THERE WAS ABOUT 2 OR 2 1/2 MINUTES FILM LEFT ON THE PAY-OUT REEL…[THE] BELL WOULD START TO RING; START TO TURN AT A SPEED, AND THAT WAS TO SIGNAL THE PROJECTIONIST TO GET READY, BECAUSE HE WAS GOING TO HAVE TO DO A CHANGE-OVER. WHEN THAT BELL RANG, THE PROJECTIONIST WOULD LOOK THROUGH A PORT IN THE PROJECTION ROOM, AND LOOK FOR A LITTLE DOT UP IN THE RIGHT HAND CORNER OF THE FILM. THERE WOULD BE TWO OF THEM. WHEN YOU HEARD THE BELL, YOU’D STRIKE THE LAMP WITH THE OLD CARBON ARCS; GET THE LAMP HOUSE RUNNING. THEN YOU’D SEE THE FIRST DOT, THAT WAS YOUR SIGNAL TO START THE PROJECTOR, THEN, WHEN YOU SAW THE SECOND DOT, THERE WAS A PEDAL ON THE FLOOR, OR A HAND SWITCH, THAT YOU WOULD ACTIVATE, AND THAT WOULD CLOSE THE SHUTTER ON ONE PROJECTOR, AND OPEN IT ON THE OTHER ONE. IF THE PROJECTIONIST WAS GOOD, IT WAS SEAMLESS. THE AUDIENCE WOULD NEVER KNOW THAT THERE WAS A REEL CHANGE.” “THERE WOULD BE TWO PROJECTORS RUNNING SIDE-BY-SIDE. I DID OPERATE IT FOR A WHILE, WITH THE CHANGE-OVERS, BUT THAT WAS ONE OF THE THINGS THAT I REALLY WANTED TO CHANGE ABOUT WATERTON. I WANTED JUST TO MAKE MY JOB A LOT EASIER. [THAT WAS] THE INTRODUCTION OF THE PLATTER SYSTEM, AND THE ZENON LAMP.” LARRY BECKER DISCUSSED THE PURPOSE OF THE LENS IN USE WITH PROJECTOR EQUIPMENT, STATING, “FILM WAS STILL AVAILABLE IN BOTH FORMATS, AND WHEN IT CAME IN, WE HAD TO KNOW WHICH FORMAT IT WAS, BECAUSE THEN WE WOULD USE THE APPROPRIATE LENS. [THE LENS] WAS STILL IN USE. PRODUCTION COSTS WERE PROBABLY…A LITTLE HIGHER IF THEY WERE SHOOTING IN THE CINEMASCOPE. I THINK THE FLAT LENS, THE 185 ASPECT RATIO WAS A BETTER RATIO FOR TELEVISION. I ALWAYS THOUGHT THAT, IF THEY THOUGHT THAT THE MOVIE WAS GOING TO HAVE A SHORT RUN IN THEATRES, AND THEN A BROADER AUDIENCE ON TELEVISION, THEN THAT FORMAT [185 ASPECT RATIO] WAS MORE SUITABLE. WE REPLACED [THE ORIGINAL LENSES].” THE BECKERS SPOKE ABOUT THEIR ARRIVAL IN WATERTON AND THEIR HISTORY WORKING IN THEATRES, WITH LARRY BEGINNING HIS CAREER WORKING IN THE PALACE THEATRE IN CALGARY, ALBERTA. IN 1975, THE BECKERS BECAME INTERESTED IN PURCHASING THE THEATRE IN WATERTON, AND BY 1976 THEY WERE RUNNING THE WATERTON THEATRE. LARRY NOTED HOW THE BECKERS BECAME INVOLVED WITH THE WATERTON THEATRE “I WAS TRAVELING TO WATERTON. I HAD NEVER BEEN TO WATERTON. I HAD AN OCCASION TO GO TO GREAT FALLS. IT WAS ON…A BUSINESS TRIP, AND IT WAS OVER A WEEKEND. I LOOKED AT THE MAP, AND I THOUGHT, “IF WE LEAVE AROUND DINNERTIME ON FRIDAY, WE CAN SPEND A NIGHT IN WATERTON…AND THEN WE CAN CONTINUE TO GREAT FALLS THE NEXT DAY.” GOT INTO WATERTON, AND, BY THIS TIME, THE SUN HAD SET, AND I STILL DIDN’T REALIZE I WAS IN THE MOUNTAINS. I SORT OF LOOKED AROUND. I DIDN’T HAVE A ROOM BOOKED, AND GOT A ROOM IN ALLEN’S LAKESHORE BUNGALOWS, WHICH WERE ON THE SHORE OF WATERTON LAKE, AT THAT TIME, AND WHEN I GOT UP IN THE MORNING, AND LOOKED AROUND, I COULDN’T BELIEVE WHERE I WAS. I MEAN, IT WAS JUST THE MOST BEAUTIFUL THING…IT WAS STUNNINGLY, GORGEOUS! THEN I THOUGHT, “I’LL TAKE A STROLL AROUND TOWN”, AND THERE WAS A MOVIE THEATRE. OF COURSE, BEING IN THE BUSINESS, I’VE GOT TO STOP AND YOU…FIND OUT WHAT’S GOING ON THERE. I CHATTED WITH A YOUNG FAMILY THAT WERE LOOKING AFTER THE PLACE FOR LOTTIE BREWERTON. LOTTIE, AND HER HUSBAND, GORDON, HAD BUILT IT BACK IN ’35. LOTTIE WAS GORDON’S WIDOW. SHE WASN’T INVOLVED IN THE OPERATION, BUT SHE HAD SOME YOUNG FAMILY THAT WERE HELPING HER OUT, SO, IN THE CONVERSATION, THEY SAID, “YOU KNOW, I THINK LOTTIE WANTS TO SELL.” I WENT BACK TO CALGARY, AND NEVER REALLY THOUGHT TOO MUCH ABOUT IT UNTIL SEVERAL MONTHS LATER, AND IT WAS SORT OF ON MY MIND, AND I THOUGHT, “WELL, I’M GOING TO GET AHOLD OF LOTTIE AND SEE WHAT THE DEAL IS HERE?” “IT NEEDED WORK. IT’S NOT A BIG MONEY-MAKING OPERATION IN WATERTON, SO IT WAS…HARD TO DO THE THINGS THAT NEEDED TO BE DONE. OVER THE YEARS, WE KIND OF KEPT IT GOING…BUT IT WAS ALWAYS…AN EXPERIENTIAL THING. IT WAS KIND OF AN ANTIQUE IN ITSELF. IT WAS NEVER INTENDED TO BE LIKE THE CITY THEATRES – IT’S A MUCH MORE CASUAL ENVIRONMENT.” “I LIKE THE STYLE OF THE BUILDING. IT’S A GORGEOUS OLD BUILDING – TUDOR-REVIVAL. IT’S GOT AN INTERESTING HISTORY. BACK IN THE MID-‘30S, PARKS CANADA WAS ENCOURAGING DEVELOPMENT IN WATERTON, AND WAS GIVING OUT THE COMMERCIAL LEASES, BUT THEY ALSO WANTED SORT OF AN ARCHITECTURAL THEME TO THE TOWNSITE. THEY HAD AN ARCHITECTURAL DIVISION, AND THEY HAD ARCHITECTS ON STAFF, AND IT WAS THAT BRANCH OF PARKS CANADA, THAT DESIGNED THAT BUILDING, AND MANY OF THE OTHER BUILDINGS IN WATERTON. IT’S GOT SOME CHARM. IT’S NICE THAT WAY.” ANDREA BECKER ADDED, “IT’S…A PRIVILEGE TO BE A WATERTON BUSINESS OWNER. IT’S A VERY SMALL COMMUNITY, AND IT’S A LIFESTYLE KIND OF ENVIRONMENT, AS WELL, FOR THE BUSINESS PEOPLE THERE. WE…FEEL THAT IT IS A SPECIAL THING TO DO…” LARRY BECKER SPOKE TO HIS TRAINING WORKING IN THEATRES AND HIS EARLY START IN THE WATERTON THEATRE, “WHEN I STARTED DOING PROJECTION WORK, IT WAS A LICENSED TRADE IN THE PROVINCE OF ALBERTA, AND, IN THE EARLY DAYS OF MOTION PICTURE EXHIBITION, THE FILM STOCK WAS A SILVER NITRATE FILM STOCK WHICH WAS, LITERALLY, EXPLOSIVE. PROJECTION ROOMS, INCLUDING THE ONE IN WATERTON, WERE BUILT LIKE A BUNKER. THEY WERE CEMENT ROOMS, WITH FIRE SHUTTERS, THAT WOULD SLAM SHUT IF SOMETHING WENT WRONG IN THE PROJECTION ROOM. THE APPRENTICESHIP PROGRAM TO BECOME A PROJECTIONIST WAS A 3 YEAR PROGRAM, AND THERE WAS DIFFERENT CATEGORIES OF LICENSING. WHEN I STARTED IN [1977] I OWNED THE THEATRE IN FORT MACLEOD AND I HAD TO DO AN APPRENTICESHIP, IN MY OWN THEATRE, BEFORE I WAS ALLOWED TO OPERATE THE EQUIPMENT. I BECAME A CERTIFIED PROJECTIONIST. I MENTION THE EARLY DAYS WITH THE SILVER NITRATE FILM, WHICH WAS HIGHLY FLAMMABLE, AND DANGEROUS. THAT HAD BEEN REPLACED BY ACETATE FILM, LONG BEFORE I BECAME INVOLVED, AND SO THE FILM STOCK WAS NO LONGER…COMBUSTIBLE, AND SO IT WAS A MUCH SAFER ENVIRONMENT. NONETHELESS, SOME OF THE OLD REGULATIONS SORT OF CARRIED FORWARD, AND SLOWLY CHANGED.” I WAS NEVER A PROJECTIONIST IN MEDICINE HAT AND CALGARY. I WAS JUST IN MANAGEMENT, SO I WASN’T THAT FAMILIAR WITH ALL OF THIS [WHEN WE BOUGHT THE WATERTON THEATRE]. IT WAS A BIT OF A LEARNING PROCESS FOR ME. I ENDED UP DOING AN APPRENTICESHIP IN MY OWN THEATRE IN FORT MACLEOD. I HIRED A PROJECTIONIST THE FIRST COUPLE OF YEARS IN WATERTON, AND I HAD TO BRING SOMEBODY DOWN FROM CALGARY TO RUN THE PROJECTOR. WHEN I GOT INTO FORT MACLEOD, I WANTED TO DO MY OWN PROJECTION WORK, AND THAT’S WHEN I DID THE APPRENTICESHIP.” [THE PROJECTIONIST WE BROUGHT TO WATERTON] WAS A FELLOW BY THE NAME OF DOUG COOPER…HE WAS FAMILIAR WITH THIS EQUIPMENT. THE CHANGES HAD STARTED IN THE CITY, BUT HE WAS FAMILIAR WITH DOING THIS KIND OF WORK. HE HAD LEARNED ON IT TOO, SO IT WASN’T A MYSTERY TO HIM. HE WAS ABLE TO MANAGE IT QUITE WELL. [WE HIRED] A DIFFERENT GUY EACH YEAR. DOUG WAS THE FIRST YEAR.” “ONE OF THE THINGS THAT WAS INTERESTING ABOUT THE THEATRE WHEN I TOOK IT OVER IS THAT, FOR LIGHT SOURCES IN THE PROJECTION ROOM, THE LAMPS THAT ILLUMINATED THE SCREEN WERE BURNING CARBON ARCS. CARBON ARCS CAME IN A BOX; YOU INSTALLED THEM IN THE LAMP HOUSE. WHEN YOU STARTED THE MOVIE, YOU’D STRIKE THEM TOGETHER, AND THEY WOULD CREATE AN ARC AND FLAME BETWEEN THESE CARBON RODS. THAT WAS WHAT PRODUCED THE LIGHT. IT WAS MAGNIFIED BY A MIRROR DOWN THROUGH THE LENS, AND WITH THE SCREEN. WITH THAT KIND OF A LIGHT SOURCE, YOU HAD TO BE IN THE PROJECTION ROOM…ALL THE TIME. YOU COULDN’T LEAVE THE PROJECTION ROOM WHILE THE MOVIE WAS RUNNING. AS A MATTER OF FACT, PROJECTION ROOMS HAD TOILETS IN THEM DURING THAT PERIOD. CHANGING THAT OUT WAS ONE OF THE FIRST THINGS THAT I DID, BECAUSE IT MADE IT A LOT EASIER TO GET OUT OF THE PROJECTION ROOM. THE OTHER THING – THE FILM WAS RUN OFF OF 18 20-MINUTE REELS AT THAT TIME, SO THERE WERE 2 PROJECTORS. WE WERE CONSTANTLY CHANGING BACK AND FORTH, FROM ONE PROJECTOR TO THE OTHER. GETTING RID OF THE CARBON ARC LAMP HOUSES, AND INSTALLING A PLATTER SYSTEM, WHICH ALLOWED…THE PROGRAM TO BE SPLICED TOGETHER ON THE SINGLE REELS.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND HISTORIES OF THE WATERTON THEATRE, PLEASE SEE THE PERMANENT FILE P20120038001-GA.
Catalogue Number
P20120038001
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Other Name
HMV BAG
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20170004004
  1 image  
Material Type
Artifact
Other Name
HMV BAG
Date
2017
Materials
PLASTIC
No. Pieces
1
Length
22.7
Width
35.7
Description
WHITE, PLASTIC SHOPPING BAG. BOTH SIDES ARE THE SAME. “HMV” IS ON THE BAG IN PINK LETTERING. THE BAG ALSO HAS INFORMATION ABOUT THE BAG INCLUDING “ENVIRONMENTAL TECHNOLOGY” ALONG THE BOTTOM EDGE. THERE IS A HOLE IN THE TOP SIDE OF THE BAG FOR THE HANDLE. VERY GOOD TO EXCELLENT CONDITION. THE BAG IS SLIGHTLY WRINKLED. THERE IS SLIGHT WEAR TO THE HANDLE THROUGH USE.
Subjects
MERCHANDISING T&E
Historical Association
RETAIL TRADE
BUSINESS
History
IN THE EARLY MONTHS OF 2017 THE MUSIC FRANCHISE, HMV CANADA, BEGAN TO THE PROCESS OF CLOSING DOWN ALL 120 OF THEIR STORES ACROSS CANADA. AFTER 30 YEARS OF BUSINESS, THE COMPANY WENT INTO RECEIVERSHIP. PARK PLACE MALL IN DOWNTOWN LETHBRIDGE HAD AN HMV LOCATION OF ITS OWN, WHICH OPENED IN 1994. THIS SHOPPING BAG IS AN EXAMPLE OF SHOPPING BAGS USED AT THE LETHBRIDGE LOCATION OF HMV DURING THE TIME OF RECEIVERSHIP. IT IS ALSO PHYSICAL SYMBOL OF BRICK-AND-MORTAR SHOPPING MALLS. ON 27 FEBRUARY 2017, IN AN INTERVIEW WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN, THE MANAGER OF THE HMV LETHBRIDGE, BRENDAN FRIZZLEY, REFLECTED ON HIS PAST EXPERIENCE AT THE MUSIC STORE, THE SIGNIFICANCE OF MUSIC STORES, AND ON THE RECEIVERSHIP PERIOD. FOR MORE INFORMATION OF FRIZZLEY’S CONNECTION TO THE STORE, PLEASE SEE P20170004001-2. IN THE INTERVIEW, FRIZZLEY SPOKE ABOUT THE CHANGE IN MALL TRAFFIC, “[THERE IS] SUCH A DROP IN TRAFFIC, AS PEOPLE START TO MOVE AWAY FROM MALLS. [THIS IS EXEMPLIFIED BY] THE FACT THAT I’LL HAVE SATURDAYS WHERE I’LL PULL AS MUCH AS I USED TO PULL ON A SLOW MONDAY EIGHT YEARS AGO, IN TERMS OF JUST PEOPLE COMING IN. WE’VE MADE SO MANY CHANGES TO BE ABLE TO MAKE THAT WORK FROM ON OUR SIDE, WHETHER IT’S GETTING BETTER DEALS FOR EVERY CD THAT WE SELL, OR JUST CHANGING THE GENERAL PRICE OF THINGS, OR HAVING THINGS THAT MAKE MORE MONEY… PEOPLE AREN’T SHOPPING IN MALLS ANYMORE. THERE’S STILL PEOPLE COMING IN, ESPECIALLY AROUND CHRISTMAS TIME, BUT IT’S NOT THE SAME AS IT USED TO BE. I REMEMBER MY FIRST CHRISTMAS [WORKING] HERE. WE HAD THREE TILLS – WE’D RUN ALL THREE OF THEM – AND THERE’D BE STILL CRAZY LINES. THAT WAS FOR ALL OF DECEMBER, AND THEN THIS YEAR, BLACK FRIDAY AND BOXING DAY BOTH HAPPENED, AND I DIDN’T HAVE TO OPEN A THIRD TILL…PEOPLE DON’T WANT SHOPPING TO BE A MULTI-HOUR STROLLING EXPERIENCE. WE’VE ALL GOT TO FACE THE ‘BUYING ONLINE,’ AND IF IT’S NOT ‘BUYING ONLINE’, [IT'S] BUYING ‘BIG BOX’. IF YOU WALK INTO WALMART OR COSTCO AND YOU’RE OUT IN AN HOUR, AND YOU GOT EVERYTHING THAT YOU NEED, THAT’S SO MUCH BETTER THAN A DAY AT THE MALL. I DON’T THINK THE THINGS AT THE MALL ARE INTERESTING ENOUGH ANYMORE FOR PEOPLE TO WANT TO PORE OVER THEM, AND HAVE THAT EXPERIENCE WHERE YOU WANDER AROUND THE MALL. THE KIDS WOULD GO OFF ONE WAY; PARENTS WOULD GO OFF THE OTHER. MOM AND DAD WOULD EVENTUALLY SPLIT UP, AS THEY GOT PULLED DIFFERENT WAYS. EVERYONE WOULD SORT OF WANDER AROUND; THEY’D MEET UP AT THE FOOD COURT, AT A CERTAIN TIME, AND THAT WOULD BE THAT, AND IT’S JUST NOT AN EXPERIENCE PEOPLE WANT [ANYMORE]. I THINK PEOPLE FEEL PULLED A LOT OF DIFFERENT WAYS, AND WE’VE GOTTEN VERY GOOD AT GETTING GOOD RECREATIONAL ACTIVITIES, AT THE SAME TIME… MILLENNIALS HAVE FOUND REALLY INTERESTING, ENGAGING WAYS OF OCCUPYING THEIR TIME…YEAH, YOU KNOW PEOPLE ARE THERE TO BUY CERTAIN THINGS AT THE MALL… IF PEOPLE ARE COMING IN FOR A PARTICULAR ITEM AT MY STORE, THEY’RE PROBABLY NOT HITTING ANY OTHER STORE…NOBODY WANTS TO SHOP AROUND. AND THAT’S FINE. I’M NOT A MALL PERSON… WHEN I’M BUYING SOMETHING, I’M PROBABLY GETTING IT OFF AMAZON. I’LL BE IN THE MALL, HEADING OUT TO MY CAR, AND I’LL BE ON MY PHONE ON AMAZON BUYING THE THING THAT I WANT TO BUY, BECAUSE I WANT TO BE ABLE TO TAKE ADVANTAGE OF THAT. I DON’T WANT TO SHOP AROUND IN THE MALL. AND IT’S KIND OF SURREAL THAT I LIVE IN A PLACE THAT SELLS THE THINGS I WANT, BUT I DON’T SEE EXACTLY WHAT I WANT HERE, SO RATHER THAN JUST HAVE TO SETTLE AND BUY THE BEST ONE, I’M JUST GOING TO GET ON MY PHONE…” MACLEAN STATED THAT THERE IS A “KIND OF REVOLUTION OF DIGITAL, IN TERMS OF, NOT JUST THE [HMV] ITSELF, BUT EVEN THE MALL.” FRIZZLEY ELABORATED ON THAT: “[Y]OU APPROACH THIS AWKWARD, POST-WORK SOCIETY WHERE YOU’VE KILLED RETAIL… WE CAN HAVE A LOT OF PEOPLE UNEMPLOYED REALLY QUICKLY IF WE’RE DOING THIS. THAT’S THE BIGGEST THING THERE. I THINK THE LOSS OF - WE ALREADY LOST THE GOOD SIDES OF RETAIL YEARS AGO WHEN WE KILLED THE EXPERTS AND KILLED SPECIALTY STORES…” PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004004
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Material Type
Artifact
Materials
PORCELAIN
Catalogue Number
P20150016001
  1 image  
Material Type
Artifact
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Materials
PORCELAIN
No. Pieces
1
Height
6
Diameter
21.5
Description
CHINA BOWL WITH AN IRREGULAR RIM THAT EXTENDS A FLORAL PETAL MOTIF ALONG BOWL’S INSIDE EDGE. CENTRE FEATURES COUNTRY LANDSCAPE INCLUDING A COTTAGE, SURROUNDED BY STAMP MARK IN GOLD STENCIL AND SCRIPT, “COMPLIMENTS OF N. F. SUPINA”. GOOD TO VERY GOOD CONDITION. SLIGHT CRACKING IN THE BOTTOM. THE BASE IS SCUFFED AND DIRTY. THERE ARE SOME MARKS ON THE OUTSIDE EDGE.
Subjects
FURNITURE
Historical Association
BUSINESS
COMMEMORATIVE
DOMESTIC
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING HORHOZER AND HER FAMILY. THIS BOWL IS A REMINDER OF THE STORE THAT WAS AN INTEGRAL PART OF LIFE IN THE SUPINA FAMILY. HORHOZER REMEMBERS: “MY DAD ALWAYS GAVE A CHRISTMAS GIFT. SO ONE YEAR HE GAVE THE PLATE AND ANOTHER YEAR HE GAVE THIS BOWL AND ACTUALLY THAT’S ALL I KNOW ABOUT IT… [A]LL THE CUSTOMERS, THE ONES THAT DEALT THERE ALL THE TIME [GOT A CHRISTMAS PRESENT]. THE GOOD PAYING ONES AND THE NOT-SO-GOOD PAYING ONES, I THINK THEY PROBABLY EVEN GOT IT TOO, BUT, AS LONG AS THEY WERE CUSTOMERS THEN THEY GOT ONE… MY MOTHER SAVED [IT] FIRSTLY, BECAUSE THEY REALLY MEANT SOMETHING - PART OF THE STORE I GUESS SHE’D SAY. SO, HAD THEM FOR A LONG, LONG TIME… MY MOM HAD ALL KINDS OF ORNAMENTS AROUND AND SHE’D JUST PUT THEM ON A TABLE OR WHATEVER. SHE WOULD CHANGE HER ORNAMENTS EVERY ONCE AND AWHILE, AND THEN SHE’D PUT THESE IN THE CUPBOARD." ABOUT THE HISTORY OF SUPINA’S MERCANTILE, HORHOZER EXPLAINS: “I WAS BORN INTO [THE STORE]. MY DAD STARTED SMALL. HIS DAD HAD A LITTLE CONFECTIONARY; THEN HE TURNED IT INTO A GROCERY STORE AND THEN HE SOLD IT TO MY DAD. MY DAD WAS THE ONE THAT TOOK IT OVER, THAT WAS ALREADY TAKING PLACE WHEN I WAS BORN. THERE WAS NO SPECIFIC MEMORY [OF THAT TRANSITIION] BECAUSE THAT’S ALL I KNEW REALLY.” “… MY DAD WAS BORN IN CZECHOSLOVAKIA. [HIS FAMILY] CAME HERE WHEN HE WAS TWO. [HIS YOUNGER SIBLINGS], THE FIVE BROTHERS AND THE ONE SISTER, WERE ALL BORN IN THAT SAME LITTLE HOUSE THERE. AND THAT’S WHERE MY GRANDPA HAD STARTED THE STORE, IT WAS JUST A CONFECTIONARY. EVENTUALLY IT GREW INTO QUITE A BUSINESS… IN THOSE DAYS, IT WAS HORSE AND BUGGY, SO THEY HAD FIVE HORSES AND BUGGIES THAT WERE RUNNING, WORKING, AND MY UNCLE ALWAYS LOOKED AFTER THE HORSES AND MAINTAINED THEM. THEY’D GO AND THEY’D PICK UP THE ORDER. LOTS OF THE PEOPLE THEN COULDN’T SPEAK ENGLISH, BUT MY DAD COULD SPEAK CZECH, AND THEN THEY’D USUALLY SEND – HE HAD ALL KINDS OF NATIONALITIES WORKING FOR HIM - [A PERSON OF MATCHING ETHNICITY], THAT KNEW THEIR LANGUAGE TO PICK UP THE ORDER. THEY BROUGHT IT BACK TO THE STORE, AND THEN DELIVERED IT BACK TO THE CUSTOMER, THAT WAS REAL SERVICE IN THOSE DAYS, ESPECIALLY WITH HORSE AND BUGGY IN THOSE WINTRY DAYS, AFTER THAT IT DEVELOPED INTO TRUCKS. THERE WERE LOTS OF MINERS IN THOSE DAYS AND WERE GOOD CUSTOMERS… HE AT ONE TIME EMPLOYED THIRTY-SIX PEOPLE IN THE STORE THERE.” AN ARTICLE IN LETHBRIDGE HERALD PUBLISHED ON MAY 5, 2004 STATES THAT NICK SUPINA PURCHASED THE STORE FROM HIS FATHER, MIKE SUPINA, IN 1918. IN THE INTERVIEW, HORHOZER CONTINUED TO SPEAK ABOUT THE BEGINNING DAYS OF THE SUPINA’S STORE: “MY GRANDPA WAS WORKING IN THE MINE. I DON’T KNOW HOW IT CAME THAT HE HAD THIS LITTLE BUSINESS… IT’S MY DAD THEN THAT HAD TO LOOK AFTER THE FAMILY BECAUSE THEY DIDN’T HAVE ANY MONEY. THERE WAS FIVE BOYS SO HE HAD THEM ALL. THEY WERE ALL CLOSE TOGETHER IN AGE. THERE’S STEVE AND BILLY AND JOHN AND MIKE… UNCLE STEVE, IS THE SECOND, HE’S THE ONE THAT STAYED WITH MY DAD, AND JOHNNY DID TOO. THEN THE OTHER TWO PURSUED THEIR OWN BUSINESSES. BILLY HAD A BUSINESS IN RED DEER AND SMALL BUSINESSES IN TWO OTHER PLACES. THEN MIKE, HE WENT TO THE STATES AND—OH, THAT WAS GEORGE, PARDON ME. HE HAD A SHOE STORE WHICH WAS VERY, VERY SUCCESSFUL. MIKE WAS THE ONLY ONE THAT WASN’T IN BUSINESS. THAT WAS BECAUSE HE WAS IN THE WAR…” THINKING BACK ON HER MEMORIES OF SUPINA’S, HORHOZER DESCRIBES, “[I]N THOSE DAYS YOU HAD GOOD FRUIT. I REMEMBER THE DELICIOUS PEACHES. I HAVEN’T SEEN A PEACH LIKE THAT SINCE… LOTS OF TIMES, THE FRUIT WOULD GO OVER-RIPE, LIKE YOUR APRICOTS AND PEACHES. MY MOTHER WOULD GO AND GET ALL THE OVER-RIPE FRUIT AND TAKE IT HOME AND MAKE BEAUTIFUL PIES AND TAKE THE PIES BACK TO THE STORE AND SELL THEM. SHE WAS A WONDERFUL BAKER. THEY DID EVERYTHING LIKE THAT TO HELP MAKE MORE MONEY. SOMETIMES MY DAD WOULD HAVE A SPECIAL ON, 3 CENTS A LOAF [OF BREAD. I HAD LOTS OF ADS FROM THE STORE, AND YOU’D GET SUCH A KICK OUT OF SEEING HAMBURGER, TWENTY-FIVE CENTS A POUND AND THINGS LIKE THAT. SO, YES I REMEMBER.” HORHOZER BEGAN WORKING AT THE STORE AT THE AGE OF 14: “I WORKED IN THE LADIESWEAR. I LIKED THAT VERY MUCH. THE MEAT DEPARTMENT WAS RIGHT ACROSS FROM THE LADIESWEAR. THAT’S KIND OF HOW I MET JOE. HE WORKED IN THE BUTCHER DEPARTMENT. I REMEMBER THE DAY HE WALKED IN THE STORE, I’LL NEVER FORGET [IT], HE HAD THIS RED CARDIGAN SWEATER ON AND I JUST FELL, HEAD OVER RIGHT THEN. HE WAS JUST STARTING WORK AND I THOUGHT, ‘WELL, THAT’S THE GUY I’M GOING TO MARRY.’” HORHOZER BELIEVED THAT AN IMPORTANT PART OF THE STORE’S SUCCESS WAS “… BECAUSE, [OF] THE SERVICE MAINLY. JUST THINK, GOING THERE, GETTING YOUR ORDERS, BRINGING THEM BACK, DOING THEM UP, THEY’D MAKE SURE THINGS WERE TOP QUALITY. THEY GOT TO KNOW EVERY CUSTOMER, OF COURSE, AND THEY KNEW WHAT THEY LIKED. HE HAD WONDERFUL PEOPLE WORKING FOR HIM. THEY JUST GAVE FANTASTIC SERVICE ALL THE TIME. PLUS, MY DAD WAS GRUFF, BUT HE WAS VERY, VERY KIND TO POOR PEOPLE THAT COULDN’T AFFORD –THERE’S LOTS THAT YEARS AFTER HE HAD PASSED AWAY [PEOPLE] WOULD COME UP TO ME AND SAY, ‘IF IT WASN’T FOR YOUR DAD, JOHNNY WOULDN’T HAVE HAD CHEESE,’ OR SOMETHING. I DIDN’T KNOW A THING ABOUT IT, BECAUSE HE WAS ONE THAT NEVER, EVER TOLD ANYBODY… THEN AT CHRISTMAS TIME HE WOULD GO TO THE STORE AND HE HAD A LIST OF EVERYBODY THAT HE KNEW WAS EXCEPTIONALLY POOR, AND HE WOULD FILL BASKETS. HE WOULD DO IT ALL BY HIMSELF… HE WOULDN’T TELL MY MOTHER AND I. HE WAS SO TIGHT-MOUTHED, FILL ALL THESE BASKETS AND DELIVER THEM TO THE PEOPLE HIMSELF WITHOUT TELLING A SOUL ABOUT IT. HE WAS THAT KIND OF PERSON. HE WAS VERY KIND THAT WAY.” SUPINA’S MERCANTILE SERVED LETHBRIDGE UNTIL IT CLOSED IN 1960. HORHOZER REMAINED IN RETAIL IN VARIOUS SHOPS IN THE CITY, INCLUDING THE DEPARTMENT STORE WOOLCO UNTIL HER RETIREMENT IN 1988. HORHOZER PASSED AWAY IN LETHBRIDGE IN 2016 AT THE AGE OF 88 YEARS OLD. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION ABOUT SUPINA’S MERCANTILE AND THE LIFE OF EVERAL AND HER FAMILY, WHICH INCLUDES THE FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150016001
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Date Range From
1933
Date Range To
2000
Material Type
Artifact
Materials
CLOTH, FELT, PAINT
Catalogue Number
P20160003002
  1 image  
Material Type
Artifact
Date Range From
1933
Date Range To
2000
Materials
CLOTH, FELT, PAINT
No. Pieces
2
Height
29.5
Width
15
Description
A: HANDMADE DOLL. THE “ESKIMO” DOLL IS MADE WITH LIGHT BLUE, FELT-LIKE FABRIC WITH WHITE FABRIC ACCENTS. THE FACE IS MADE OUT OF A LIGHTER FABRIC THAT IS PEACH-COLOURED. THE FACIAL DETAILS ARE HAND PAINTED. THE DOLL HAS BLUE EYES, EYEBROWS, NOSTRILS, RED LIPS, AND ROSY CHEEKS. THE LIGHT BLUE FABRIC THAT MAKES UP THE MAJORITY OF THE DOLL’S BODY IS ENCOMPASSING THE DOLL’S FACE LIKE A HOOD. THE DOLL’S TORSO IS COVERED IN THE LIGHT BLUE FELT. TWO HEART-SHAPED ARMS, MADE OF THE SAME MATERIAL, ARE ATTACHED TO EITHER SIDE OF THE BODY. THE DOLLS UPPER LEG AND FEET ARE COVERED IN THE LIGHT BLUE FELT. FROM THE KNEES TO THE ANKLES, A LIGHTER, WHITE FABRIC IS COVERING THE LEGS. B: DOLL SKIRT. AROUND THE DOLL’S WAIST IS A DETACHABLE SKIRT MADE OF THE SAME FABRIC AND A WHITE WAISTBAND. POOR CONDITION. ALL FABRIC IS WELL-WORN AND THREADBARE IN MULTIPLE PLACES. THE DOLL’S RED STUFFING IS VISIBLE THROUGH PARTS OF THE FABRIC. THERE IS DISCOLORATION (YELLOWING) OVERALL. THE STUFFING IS NOT EVENLY DISTRIBUTED THROUGHOUT THE DOLL. THE SEAMS AT THE ARMS ARE FRAGILE. THE PAINT FOR THE DOLL’S FACE IS SEVERELY FADED.
Subjects
TOY
Historical Association
ETHNOGRAPHIC
LEISURE
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928 THEIR DAUGHTER, ELSIE WAS BORN. THE FAMILY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. THIS DOLL BELONGED TO MORRIS AS A CHILD. SHE EXPLAINS, “THIS CAME FROM A GREAT AUNT WHO CAME TO VISIT US AND SHE ALWAYS BROUGHT GIFTS AND THIS ONE WAS MINE AND I LOVED THIS DOLL… I REMEMBER PLAYING WITH IT, IT WAS SOFT AND CUDDLY WHEN I HAD IT… MY DAUGHTER WENT THROUGH IT AND MY GRANDDAUGHTER AND THEN I PUT A STOP TO IT BEFORE THEY ATE IT UP OR DID SOMETHING… THEY LOVED IT AND THEY, YOU KNOW LITTLE KIDS, THEY’RE CARELESS SO I’LL KEEP IT...” IN A PHONE CALL WITH COLLECTIONS ASSISTANT ELISE PUNDYK ON OCTOBER 24, 2017, MORRIS SAID SHE RECIEVED THE DOLL FROM HER GREAT AUNT WHO HAD BROUGHT IT FROM VISITING BRITISH COLUMBIA. MORRIS PLAYED WITH THE DOLL AS A CHILD, AS DID MORRIS' CHILDREN. THE DOLL WAS LOVED BY MULTIPLE GENERATIONS IN MORRIS' FAMILY AS HER GRANDCHILDREN AND GREAT GRANDCHILDREN WOULD ALSO PLAY WITH THE DOLL WHEN THEY CAME TO VISIT. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003002
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, LEATHER, GLASS
Catalogue Number
P20180021001
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, LEATHER, GLASS
No. Pieces
1
Length
55
Width
31
Description
BROWN, STUFFED "PUNKINHEAD" BEAR WITH LIGHTER BROWN PATCHES ON CHEST, ARMS, NOSE, INSIDE EARS, AND TOP OF HEAD. BEAR HAS TWO CLEAR GLASS EYES WITH BLACK CENTERS; FEET ARE COVERED IN BROWN LEATHER; SNOUT HAS BLACK STITCHING FOR NOSE AND MOUTH. DRESSED IN BROWN AND WHITE PAISLEY-PATTERNED ROMPER; ROMPER HAS ELASTIC WAIST AND THREE WHITE OPAQUE PLASTIC BUTTONS ON FRONT. TOP OF ROMPER HAS TWO STRAPS THAT CROSS CHEST AND ATTACH TO CHEST WITH WHITE BUTTONS; BOTTOMS OF ROMPER FORM SHORTS. ROMPER SEAMS MACHINE-STITCHED WITH WHITE THREAD; HOMEMADE; THREADS FRAYING ON RIGHT SIDE. ARMS AND LEGS ARE MOVEABLE; FUR IS MISSING IN THINNED; FRONT PAWS HAVE FELT PATCHES SEWN ON. LEFT FRONT PAW HAS HOLES IN FELT; BLACK THREAD ON RIGHT SIDE OF MOUTH IS LOOSE; LEATHER FEET CRACKED AND WORN; BUTTONS ON ROMPER DISCOLORED YELLOW; OVERALL VERY GOOD CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE LARGEST PUNKINHEAD IN A BROWN ROMPER, OBERG RECALLED, “[I WOULD SAY] SAY IT IS IN ’57 [THAT I RECEIVERED THE BEAR] WITH THE BROWN JUMPER.” “HE WAS THE LAST ONE. FROM WHAT I UNDERSTAND, THEY ONLY CAME; THEY WERE ONLY ACCESSIBLE IN THE THREE SIZES. I HAD SHOWN SO MUCH FONDNESS TOWARDS THEM THAT MY GRANDPARENTS DECIDED THAT THEY WOULD GET ANOTHER SMALL ONE, BECAUSE THIS FELLOW [IN THE BROWN JUMPER] WAS ALMOST UNTOUCHABLE. I TRIED TO WASH HIS HAIR ONCE.” “I TRIED TO WASH HIS HAIR, AND THAT WAS FROWNED UPON BY MY PARENTS, AND MY GRANDPARENTS, BECAUSE THEY HAVE WOODEN STUFFING/WOODEN SHAVINGS. THIS FELLOW, I THINK HE HUNG OVER THE REGISTER FOR PROBABLY A MONTH, HOPING THAT HE WOULD DRY AND NOT GO MOLDY. [MY FAMILY] WANTED TO GIVE ME ANOTHER ONE, THAT I WOULD BE ABLE TO LOVE, AND CARE FOR, LIKE LITTLE GIRLS DO WITH THEIR TEDDY BEARS.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MCINTOSH AND ELSIE PEARL MCINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021001
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, GLASS, LEATHER
Catalogue Number
P20180021002
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, GLASS, LEATHER
No. Pieces
3
Length
36
Width
24.5
Description
A. STUFFED TOY, “PUNKINHEAD”, 36 CM LONG X 24.5 CM WIDE. BROWN PUNKINHEAD BEAR DRESSED IN BLUE SHORTS AND SHIRT. BEAR HAS TWO CLEAR GLASS EYES WITH BLACK CENTERS; FACE STITCHED WITH BLACK THREAD CREATING NOSE AND MOUTH; FEET CASED IN BROWN LEATHER STITCHED ON WITH BLACK THREAD. PUNKINHEAD BEAR HAS LIGHTER BROWN SNOUT, CHEST, TOP OF HEAD, AND INSIDE OF EARS. FUR ON BEAR IS MISSING IN PACTHES AND THINNED; BEAR IS MISSING LIGHT HAIR FROM TOP OF HEAD; NOSE IS TORN ON SIDES AND HAS LOSS IN FABRIC SHOWING INSIDE STUFFING. OVERALL GOOD CONDITION. B. BLUE COTTON SHIRT, 11.5 CM LONG X 7.5 CM WIDE. HOMEMADE WITH WHITE MACHINE STITCHING ALONG CUFFS AND HEM; BACK HAS CINCHING WITH WHITE THREAD. FRONT OF SHIRT TIED AT NECK AND OPEN AT FRONT. FABRIC IS FADED; RIP IN RIGHT SIDE; OVERALL VERY GOOD CONDITION. C. BLUE COTTON SHORTS, 8.5 CM LONG X 9 CM WIDE. HANDMADE WITH WHITE MACHINE STITCHING ALONG LEG-HOLES AND WAIST. SHORTS FADED; TEAR INSIDE RIGHT LEG; OVERALL VERY GOOD CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE PUNKINHEAD IN THE BLUE OUTFIT, OBERG RECALLED, “THE MIDDLE-SIZED ONE [IN BLUE I RECEIVED] ’55.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MCINTOSH AND ELSIE PEARL MCINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021002
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, GLASS, LEATHER
Catalogue Number
P20180021003
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, GLASS, LEATHER
No. Pieces
1
Length
24.3
Width
12.3
Description
BROWN “PUNKINHEAD” STUFFED BEAR WITH LIGHTER BROWN PATCHES ON CHEST, ARMS, NOSE, INSIDE EARS, AND TOP OF HEAD. BEAR HAS TWO CLEAR GLASS EYES WITH BLACK CENTERS; FEET ARE COVERED IN BROWN SUEDE; SNOUT HAS BLACK STITCHING FOR NOSE AND MOUTH. DRESSED IN RED VELVET SHORTS SEWN TO BODY. ARMS ARE MOVEABLE; FUR IS MISSING IN PATCHES AND THINNED; TOP OF HEAD IS MISSING LIGHTER HAIR. SNOUT HAS RIP IN UNDERSIDE EXPOSING INNER STUFFING; OVERALL FAIR CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE PUNKINHEAD IN RED SHORTS, OBERG RECALLED, “[THAT CAME LAST] IN ’59.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MCINTOSH AND ELSIE PEARL MCINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021003
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, LEATHER, PLASTIC
Catalogue Number
P20180021004
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, LEATHER, PLASTIC
No. Pieces
3
Length
24
Width
12.3
Description
A. BROWN “PUNKINHEAD” STUFFD BEAR, 24 CM LONG X 12.3 CM WIDE. BEAR DRESSED IN GREEN SHIRT AND SHORTS; BEAR HAS TWO WHITE PLASTIC BUTTON EYES WITH BLACK PLASTIC BEAD ON TOP, SEWN ONTO FACE; BEAR IS BROWN WITH LIGHTER BROWN CHEST, INSIDE OF EARS, SNOUT, AND TOP OF HEAD. SNOUT HAS BLACK STITCHING FOR NOSE AND MOUTH; FEET ENCASED IN BROWN LEATHER. FUR IS MISSING IN PATCHES AND THIINED; LEATHER ON FEET IS CRACKED AND FADED; BEAR IS MISSING FUR FROM LIGHTER PATCH ON TOP OF HEAD. OVERALL GOOD CONDITION. B. GREEN COTTON SHIRT, 8 CM LONG X 6 CM WIDE. HANDMADE WITH BLACK MACHINE STITCHING AT CUFFS AND HEM; BACK IS CINCHED WITH BLACK THREAD; SLEEVES HAVE ROLLED CUFFS. FRONT IS OPEN WITH TIES AT COLLAR TO ATTACH. OVERALL EXCELLENT CONDITION. C. GREEN COTTON SHORTS, 5.5 CM LONG X 6 CM WIDE. HANDMADE WITH BLACK MACHINE STITCHING INSIDE LEG HOLES AND AT WAIST. WAIST IS ELASTIC; BACK HAS MINOR FRAYING AT EDGE OF LEFT LEG HOLE. OVERALL EXCELLENT CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE PUNKINHEAD IN THE GREEN OUTFIT, OBERG RECALLED, “THE OLDEST IS THE RATTIEST LITTLE GUY [IN GREEN]…I WAS BORN IN ’49, SO IT WOULD HAVE BEEN [GIVEN TO ME] ’53.” “THE FIRST ONE [IS SPECIAL TO ME], BECAUSE HE OPENED UP MY EYES TO, AT THAT AGE, BEING TO LOVE AN INANIMATE OBJECT, AS OPPOSED TO PARENTS, GRANDPARENTS, OR SIBLINGS. HE’S PROBABLY GOT A LOT MORE SECRETS TO TELL THAN THE BIGGER ONE.” “[THE BEAR WAS] WELL- LOVED, HE’S LOST A LOT OF HAIR. HE’S GOT NEW SHOES ON…AS FAR AS I KNOW, THE FIRST ONE…WAS SO WELL-WORN, AND SO WELL- LOVED, THAT MY GRANDMOTHER, WHO DID A LOT OF SEWING AND HAND-WORK, GAVE HIM NEW SHOES. HIS LITTLE FELT PANTS, THAT CAME WITH HIM, WERE LONG WORN-OUT, SO SHE SEWED HIM ANOTHER LITTLE OUTFIT.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MCINTOSH AND ELSIE PEARL MCINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021004
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20180029001
  2 images  
Material Type
Artifact
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Materials
PAPER, INK
No. Pieces
1
Length
104
Width
68.8
Description
POSTER WITH IMAGE ON FRONT OF PURPLE AND BLUE SKY WITH SUNRISE AND PARATROOPERS DESCENDING OVER TOWN SURROUNDED BY MOUNTAINS AT BOTTOM EDGE. POSTER HAS WHITE BORDERS; POSTER HAS WHITE TEXT PRINTED ON IMAGE “IN OUR TIME NO FOREIGN ARMY HAS EVER OCCUPIED AMERICAN SOIL. UNTIL NOW” AND RED PRINTED TEXT BELOW WITH RUSSIAN SYLLABICS OVER “RED DAWN”; POSTER HAS WHITE CREDITS ALONG BOTTOM EDGE, “A VALKYRIE FILM A SIDNEY BECKERMAN PRODUCTION RED DAWN…” WITH LISTING OF CAST AND CREW MEMBERS. LOWER LEFT CORNER OF IMAGE HAS TEXT WARNING “PG-13, PARENTS ARE STRONGLY CAUTIONED TO GIVE SPECIAL GUIDANCE FOR ATTENDANCE OF CHILDREN UNDER 13, SOME MATERIAL MAY BE INAPPROPRIATE FOR YOUNG CHILDREN”, AND TEXT BESIDE “[COPYRIgHT SYMBOL” 1984 UNITED ARTISTS CORPORATION”; LOWER RIGHT CORNER OF IMAGE HAS LOGO “METRO GOLDWYN MAYER UNITED ARTISTS, DIAMOND JUBILEE, SIXTY YEARS OF GREAT ENTERTAINMENT”; POSTER HAS TEXT ALONG LOWER BORDER “PROPERTY OF NATIONAL SCREEN CORPORATION LICENSED FOR USE ONLY IN CONNECTION WITH THE EXHIBITION OF THIS PICTURE AT THE THEATRE LICENSING THIS MATERIAL. LICENSEE AGREES NOT TO TRADE, SELL OR GIVE IT AWAY, OR PERMIT OTHERS TO USE IT, NOR SHALL LICENSEE BE ENTITLED TO ANY CREDIT UPON RETURN OF THIS MATERIAL. THIS MATERIAL EITHER MUST BE RETURNED OR DESTROYED IMMEDIATELY AFTER USE. LITHO. IN U.S.A., RED DAWN 840077”. BACK OF POSTER HAS HANDWRITTEN TEXT IN RED INK IN LOWER LEFT CORNER “KEVIN MCLEAN $2.00” AND HANDWRITTEN TEXT IN BLUE INK “RED DAWN”. POSTER HAS TEARS AT RIGHT AND LEFT EDGES, AND LOWER EDGE; FRONT IS CREASED; BACK OF CORNERS HAS LOSS FROM REMOVAL OF ADHESIVES. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
LEISURE
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. THE OBJECTS DONATED BY MACLEAN REFLECTED HIS LIFE AND IDENTITY THROUGH HIS TIME IN LETHBRIDGE. ON THE “RED DAWN” FILM POSTER, MACLEAN ELABORATED, “THE POSTER [WAS] UP [IN MY ROOM].” “[IN] THE 1980S, AS A KID, AND I DON’T KNOW IF IT WAS JUST ME ‘CAUSE I WAS A NEWS JUNKIE, THE COLD WAR WAS A BIG DEAL IN THE EARLY ‘80S. THERE WERE SHOWS ON TV THAT WERE SCARING THE CRAP OUT OF ME. THERE WAS ONE CALLED "THE DAY AFTER" AND THAT WAS IN ’83. THEN IN 1984 THIS MOVIE COMES OUT WHICH IS CALLED RED DAWN WHICH IS, AGAIN, ABOUT RUSSIAN COMMUNIST INVASIONS OF NORTH AMERICA. IT’S A SMALL TOWN THAT ALL THESE TROOPS DROP INTO. TO SAY THE LEAST, I WAS SEMI-OBSESSED WITH THE SUBJECT MATTER.” “IF YOU WATCHED "THE DAY AFTER"…ON ONE HAND, THAT KIND OF SUBJECT MATTER CAN FEEL FOREIGN AND ABSTRACT AND NOT RELEVANT. BUT, IF AT THE SAME TIME YOU’RE A KID, AND YOUR PARENTS ARE WATCHING THE NEWS EVERY NIGHT, AND YOU HAVE AN INTEREST IN WHAT’S GOING ON—A LOT OF KIDS DON’T CARE BUT FOR SOME REASON, I WAS VERY INTERESTED. THEN YOU THOUGHT, “NO, THIS IS A VERY REAL PROSPECT. THIS COULD ACTUALLY HAPPEN.” I WAS TERRIFIED ABOUT IT. BUT, AT THE SAME TIME, I WAS ALSO ATTRACTED TO IT, LIKE A FLAME. IT WAS…ROCKETS…I DON’T KNOW WHAT IT WAS BUT I WAS ACTIVELY INTERESTED IN [THEM]. THEN AT SOME POINT, THAT PIVOTED, WHICH IS WHEN I KNOW I WAS LOOKING AT THE SOLDIER OF FORTUNE MAGAZINES AND THEN I STARTED BUYING COMIC BOOKS…WORLD WAR TWO COMIC BOOKS.” “WE DIDN’T HAVE MUCH TV OUT IN PICTURE BUTTE. [OTHER PEOPLE] PROBABLY HAD LOTS OF CHANNELS IN LETHBRIDGE. ONE CHANNEL WE DID HAVE—I THINK WE ONLY HAD THREE—WAS CBC. I REMEMBER [MY PARENTS] WATCHING THE NATIONAL. I THINK [THERE] WAS [A SHOW] CALLED THE JOURNAL WITH BARBARA FRUM [THAT MY PARENTS] WOULD WATCH AT TEN O’CLOCK EVERY SINGLE NIGHT. I WOULD SNEAK OUT OF MY ROOM AND HIDE BEHIND THE COUCH, AND [THE COLD WAR IS] ON THE NEWS EVERY SINGLE NIGHT.” “IN TERMS OF [THE COLD WAR] MANIFESTING ITSELF LOCALLY…I THINK TRUDEAU’S IN POWER, AND THERE’S A WHOLE DEBATE ABOUT CANADA HAVING NUKES IN THIS COUNTRY. ULTIMATELY, IT DIDN’T HAPPEN. BUT, THE U.S. WAS TESTING CRUISE MISSILES IN ALBERTA, AND NOT FAR FROM MY FRIEND’S HOUSE OUT NEAR PICTURE BUTTE, WHEN THE TALK OF A CRUISE MISSILE BEING TESTED IN ALBERTA WAS IN THE NEWS, ACTIVELY, PEOPLE WERE UNHAPPY AND PROTESTING. A BUNCH OF TRACTOR TRAILERS PULLED UP ON THE TOP OF A HILL, TWO MILES AWAY FROM [MY FRIEND’S] HOUSE, WITH U.S. LICENSE PLATES. OTHERWISE, THEY WERE TOTALLY UNMARKED. THEY BUILT THIS RADAR INSTALLATION UP ON THE TOP OF THE HILL, WHERE IT REMAINED…FOR THREE DAYS OR [SO]…AND THEN IT ALL DISAPPEARED.” “I CAN’T SAY THAT I KNOW FOR A FACT THAT IT WAS RELATED TO CRUISE MISSILE TESTING.” “GENERALLY TO SAY…WITH THESE [OBJECTS] I CAN DRAW A BIT OF A LINE FROM MY HAVING POSSESSED THEM ALL THE WAY, IN SOME FORM…THEY WOULD HAVE HAD AN IMPACT ON [MY] IDENTITY AND WHO I THINK I AM TODAY. I DON’T VALUE THEM BECAUSE THEY DON’T HAVE UTILITY AND THEY DON’T HAVE PRACTICAL VALUE. I DON’T LOOK AT THEM ALL THE TIME, BUT I KNOW THAT THEY HAVE SOME IMPORTANCE LIFE-WISE.” “IN SCHOOL, THERE WAS A GAME THAT WE WERE PLAYING. THIS IS AT A TIME WHEN THERE’S ONE COMPUTER FOR THE ENTIRE SCHOOL. IT WAS AN APPLE…AND IT WAS A WW2-BASED GAME. MY INTEREST, INITIALLY, WAS IN CONTEMPORARY-TYPE STUFF. THEN WE’RE PLAYING THIS GAME WHICH I’M NOT REALLY–IT’S ABSTRACT TO ME. WE’RE JUST PLAYING THIS GAME AND THEN, BECAUSE I’M INTO THIS, I’M BUYING MAGAZINES CALLED SOLDIER OF FORTUNE, AND I CAN REMEMBER FLIPPING THROUGH THE PAGES OF [THE] PROXY WAR IN AFGHANISTAN. [THE RUSSIANS] HAD GONE INTO AFGHANISTAN, AND I SAW A WW2 PICTURE AND I CONNECTED IT TO THIS GAME AND I [THOUGHT], “OH, THIS IS A REAL THING.” THEN, ALL OF A SUDDEN, THIS CONTEMPORARY STUFF IS OF LESSER INTEREST AND THEN IT BECOMES MORE SECOND WORLD WAR INTEREST AFTER THAT.” “MAYBE I STILL AM [THAT PERSON] TODAY A BIT…IN DIFFERENT RESPECTS. [THE OBJECTS] TAKE UP SOME SPACE BUT I COULDN’T LET THEM GO BECAUSE THEY’RE SYMBOLS, IN A WAY. THEY’RE ONLY THAT BECAUSE OF WHAT IS IN MY HEAD, SO I THOUGHT AT SOME POINT IT WAS GOOD TO [DONATE THEM]…IT WOULD HAVE BEEN MAYBE EASIER TO LET SOME OF THIS STUFF GO.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029001
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
SLURPEE CUP
Date Range From
2000
Date Range To
2005
Material Type
Artifact
Materials
PLASTIC, INK
Catalogue Number
P20180029008
  2 images  
Material Type
Artifact
Other Name
SLURPEE CUP
Date Range From
2000
Date Range To
2005
Materials
PLASTIC, INK
No. Pieces
1
Height
16.3
Diameter
10.6
Description
PLASTIC CUP WITH YELLOW, ORANGE AND GREY PRINTED IMAGE OF SOLDIER IN HELMET IN CITYSCAPE WITH BLUE AND ORANGE LOGO “HALO 2”. CUP HAS BLUE BORDER UNDER RIM WITH WHITE TEXT “SLURPEE”. LOWER LEFT CORNER OF IMAGE HAS BLACK AND GREEN LOGO “XBOX”; CUP HAS TEXT AT ALONG BASE “32 OZ, US (946 ML)” WITH WHITE, GREEN, RED AND ORANGE LOGO “7 ELEVEN”, AND BARCODE “0 05120 7” AND TEXT “WWW.SLURPEE.COM”. RIGHT END OF IMAGE HAS GREEN BORDER FROM BASE TO RIM WITH GREEN, RED AND WHITE LOGOS “MOUNTAIN DEW”. BESIDE “MOUNTAIN DEW” LOGOS IS WHITE BORDERS WITH BLACK TEXT “[COPYRIGHT SYMBOL] 2004 MICROSOFT CORPORATION. ALL RIGHTS RESERVED. MICROSOFT, BUNGIE, THE BUNGIE LOGO, HALO, XBOX, XBOX LIVE, THE XBOX LOGO AND THE XBOX LIVE LOGO ARE EITHER REGISTERED TRADEMARKS OR TRADEMARKS OF MICROSOFT CORPORATION IN THE U.S. AND/OR IN OTHER COUNTRIES. THIS PROMOTION IS BASED ON A MATURE-RATED VIDEO GAME. MOUNTAIN DEW AND THE MD DESIGN ARE REGISTERED TRADEMARKS OF PEPSICO, INC.” INSIDE OF CUP IS OPAQUE WHITE PLASTIC; BASE OF CUP IS OPAQUE WHITE PLASTIC WITH EMBOSSED TEXT “TECHNIMARK, ASHEBORO, NC, MADE IN USA, 6, TM-32T, [RECYCLING SYMBOL] 7, OTHER”. LABEL ON FRONT HAS TEARS IN IMAGE AND SCUFF MARKS AT BASE; OVERALL VERY GOOD CONDITION.
Subjects
FOOD SERVICE T&E
MERCHANDISING T&E
Historical Association
BUSINESS
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE SLURPEE CUP, MACLEAN RECALLED, “I WAS IN THE [ARMY] RESERVES AT THE TIME WHEN [THE] HALO CUPS CAME OUT, SO I’M PRETTY SURE THAT THEY WOULD DATE TO ABOUT 2001 AND 2002. UP UNTIL THAT POINT I WOULD BE USING DISPOSABLE CUPS. I HAD A 7-ELEVEN…WHEN WE LIVED IN THE 300 BLOCK OF 15TH STREET FOR 10 YEARS, THERE WAS A 7-ELEVEN A BLOCK AWAY FROM MY HOUSE. LATER IT WOULD BE ON MAYOR MAGRATH DRIVE…BY THE SANDMAN IS WHERE I WOULD HAVE GOT THE HALO CUPS. WHAT I DID [IS] I BOUGHT A NUMBER OF THOSE CUPS SO I COULD HAVE HAD AS MANY AS 15 TO 20 OF THEM AND THEN I WOULD HAVE A CUP DISPENSER. IF YOU WERE IN MY VEHICLE [A YUKON], THERE WOULD HAVE BEEN 15-20 CUPS ON THE BACK SEAT. I ALWAYS HAD CUPS THAT I WOULD TAKE IN. I WOULD USE THOSE CUPS BECAUSE I THINK I WOULD ACTUALLY GET SOME REDUCTION IN PRICE FOR BRINGING THAT CUP IN. BUT I ALSO THOUGHT IT WAS A REALLY COOL CUP.” “IT MIGHT HAVE BEEN [PART OF A COLLECTOR’S SERIES].” “[THE CUPS WERE] MOVIE BASED…THAT ONE IS ACTUALLY GAME BASED [HALO IS A GAME]. AFTER THAT ONE CAME OUT THERE WAS A NUMBER OF, EITHER GAMES OR MOVIES, THAT WERE COMING OUT THAT 7-ELEVEN WOULD PROMOTE ON THOSE CUPS. I THINK I HAD TERMINATOR CUP, AND I HAD SOME FUTURE HALO CUPS. I NEVER LIKED THEM AS MUCH AS I LIKED THAT CUP THAT I’VE DONATED.” “I [LIKED] THE COLORS OF IT AND, BECAUSE I WAS IN THE ARMY AT THE TIME, I THOUGHT IT WAS A COOL CUP. AT THAT SAME TIME THEY WERE TWINNING MAYOR MAGRATH DRIVE, MAKING IT 3 LANES IN BOTH DIRECTIONS, I REMEMBER COMING FROM THE ARMORY GOING DOWN TO 7-ELEVEN TO GET MY SLURPEE.” “I DON’T [PLAY HALO]. I JUST LIKED THE SOLDIER GUY.” MACLEAN SPOKE TO HIS INTEREST IN SLURPEES, NOTING, “THERE WOULD BE THINGS THAT WOULD BE PART OF MY DAY TO DAY LIFE AND EXISTENCE THAT, I WOULD SAY, ARE PART OF MY IDENTITY IN TERMS OF WHO I AM. DRINKING SLURPEES WOULD HAVE BEEN ONE OF THOSE THINGS. IF YOU WOULD HAVE BEEN AT WORK WITH ME IN THE 1990S THEN YOU POTENTIALLY WOULD HAVE RECALL OF ME DRINKING SLURPEES EVERY SINGLE DAY. IT WAS SUPER IMPORTANT TO ME SO I THOUGHT I SHOULD OFFER ONE TO THE MUSEUM. I KNEW THERE WASN’T ALREADY A SLURPEE CUP.” “I REMEMBER MY AUNT AND UNCLE, WHO ARE BRIAN AND BONNIE MURRAY, TAKING ME AS A KID [AT ABOUT 8 OR 9 YEARS OLD]…THIS WOULD BE IN THE LATE 1970S, AND WE VISITED A STRIP COMMERCIAL SPACE ON MAYOR MAGRATH DRIVE OUT BY THE GREEN STRIP. LOCATED THERE WAS A 7-ELEVEN ADJACENT TO A TACO TIME. I THINK WE WENT TO BOTH LOCATIONS BECAUSE I WAS A FARM KID IN PICTURE BUTTE. I REMEMBER EATING SOFT TACOS WITH MEXI-FRIES AND THEN FOR SURE GOING TO 7-ELEVEN AND HAVING A GRAVEYARD SLURPEE FOR THE VERY FIRST TIME.” “[A GRAVEYARD SLURPEE IS] ORANGE CRUSH MIXED WITH COKE AND ROOT BEER. IT’S A WHOLE BUNCH OF FLAVORS MIXED IN ONE AND I THOUGHT IT WAS THE COOLEST THING. I DON’T KNOW IF IT WAS THE TEXTURE IN MY MOUTH OR IF IT WAS THE TEMPERATURE BUT IT RESONATED WITH ME IN A BIG WAY.” “I POTENTIALLY WOULD DRINK MULTIPLE SLURPEES PER DAY AND THE SLURPEES ARE NOT ALL THE SAME. DEPENDING ON WHEN YOU GO, THE QUALITY OF THE SLURPEE IS GOING TO BE DIFFERENT. YOU HAVE A BAD SLURPEE EXPERIENCE, YOU MIGHT DECIDE NOT TO DRINK THE WHOLE THING AND THEN WHAT YOU’RE GOING TO DO IS GO BACK IN FOUR HOURS AND TRY AGAIN. OR YOU COULD HAVE A REALLY GOOD SLURPEE EXPERIENCE AND YOU WOULD GO BACK AND TRY AGAIN. BUT THERE WOULD BE THINGS LIKE, IF I WALKED INTO THE STORE AND SOMEONE WAS IN FRONT OF ME AND THEY HAPPENED TO HAVE ONE OF THOSE LARGE THERMOS [CUPS], THAT COULD HOLD THE EQUIVALENT OF 4 OR 5 OF [MINE]…THEY WOULD DESTROY THE CONSISTENCY OF THE SLURPEE. IF THEY’RE IN FRONT OF ME, I’D BE GETTING REALLY ANGRY AT THEM OVER A SLURPEE WHICH ISN’T GOOD AT ALL. IT WAS TO THE POINT WHERE I COULD WALK IN THE FRONT DOORS AND I COULD LOOK AT THE MACHINE, WHICH WOULD BE ON THE OPPOSITE SIDE OF THE ROOM AND TELL, JUST BY THE COLOUR AND HOW QUICKLY THAT PADDLE WAS GOING AROUND, HOW GOOD THAT SLURPEE WAS GOING TO BE. I WOULD TURN AROUND AND WALK OUT IF IT WAS MOVING RELATIVELY QUICK AND IT WAS REALLY DARK. SO I KNEW. THAT’S A PROBLEM AND…POTENTIALLY MY BLOOD PRESSURE WOULD CHANGE WHEN I’M DISPENSING THE SLURPEE BECAUSE I’M SO EXCITED TO GET IT. A LOT OF WHAT WE DO AS HUMAN BEINGS IS ABOUT RITUAL AND IT’S NOT EVEN REALLY ABOUT THE SLURPEE ITSELF BUT THAT, AT A CERTAIN POINT OF THE DAY, WE DO THE SAME THING OVER AND OVER AGAIN BECAUSE IT FEELS GOOD. FOR ME, IT WAS AT LUNCH TIME, DRIVING FROM MY HOUSE TO GO GET THAT SLURPEE TO BRING IT BACK TO WORK, WHICH IS A TREMENDOUS WASTE OF TIME. AND FOR WHAT? EXCEPT THAT, I REALLY DID LIKE DRINKING SLURPEES. I REALLY LIKED THE SUGAR RUSH A LOT. IT GAVE ME A LOT OF ENERGY AND I DON’T KNOW IF I HAVE THAT ANY MORE. I NEVER CRASHED AFTER I DRANK THEM. I SAID “IT WAS LIKE I PARACHUTED BACK TO EARTH”. I LOVED THEM LOTS.” “[I STOPPED DRINKING SLURPEES] AROUND [2011/2012]. THE CITY OF LETHBRIDGE WAS OFFERING A HEALTH CHECK-UP WHICH WAS REALLY GOOD. I WENT AND THEY MEASURED MY BLOOD SUGAR WHICH WAS HIGH NORMAL. IT WASN’T OUTSIDE NORMAL, BUT IT WAS HIGH NORMAL AND THEY WERE RECOMMENDING TO ME…THAT PERHAPS I SHOULDN’T BE DRINKING SUGAR EVERY DAY. AND ME KNOWING THAT PANCREATIC CANCER IS SOMETHING THAT COULD BE RELATED TO SUGAR CONSUMPTION, I JUST KNEW THAT THERE WAS REALLY NO GOOD REASON FOR ME TO BE DRINKING THOSE STUPID THINGS AS PART OF MY DAY TO DAY EXISTENCE.” “I CUT THEM OUT. I STOPPED AND I THINK IF YOU CAN BREAK THE RITUAL OF GOING TO GET THEM, BECAUSE YOU CAN GET THERE, YOU DON’T EVEN DRINK IT OR YOU DON’T EVEN GET IT. I JUST THOUGHT I HAVE TO BREAK THE PATTERN. SO I BROKE THE PATTERN AND THEN I HAVEN’T GONE BACK.” “I DON’T THINK I’VE KNOWN ANYONE WHO WOULD HAVE BEEN CONSUMING THE NUMBER OF SLURPEES THAT I WAS. I KNOW MY SISTER AND HER HUSBAND WERE DRINKING BIG GULPS, AND THEY WOULD HAVE MUCH LARGER CONTAINERS THAN I EVER HAD. PEOPLE WERE CRITICAL OF MY SLURPEE CONSUMPTION, AND MY SISTER AND BROTHER-IN-LAW WERE PROBABLY DRINKING AS MUCH IF NOT MORE COKE, [OR] FOUNTAIN POP, THAN ME. I DON’T KNOW WHY SLURPEES GET SUCH A BAD RAP, BUT I’VE NEVER KNOWN MANY PEOPLE THAT LIKED TO DRINK MORE THAN ME. THE OTHER THING IS THAT I HAVE NO CAVITIES. I DON’T EVEN GO TO THE DENTIST EVERY YEAR BECAUSE I THINK IT’S A RACKET. I WOULD GO, AND THEY WOULDN’T FIND ANY CAVITIES.” “[THE CUP HAS] MEANING TO ME TO SEE [IT] BECAUSE [SLURPEES WERE] PART OF MY DAY TO DAY EXISTENCE FOR—IF IT STARTED IN 1979 AND ENDED BY 2012—THE BETTER PART OF THIRTY-TWO YEARS. IT’S A LONG TIME, AND I [THOUGHT] OF THEM EVEN DURING HIGH SCHOOL.” 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
P20180029008
Acquisition Date
2018-12
Collection
Museum
Images
Less detail

23 records – page 1 of 2.