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Other Name
DRAG-A-DOLL KIT
Date Range From
2017
Date Range To
2019
Material Type
Artifact
Materials
PLASTIC, PAPER, SYNTHETIC HAIR
Catalogue Number
P20190020042
  2 images  
Material Type
Artifact
Other Name
DRAG-A-DOLL KIT
Date Range From
2017
Date Range To
2019
Materials
PLASTIC, PAPER, SYNTHETIC HAIR
No. Pieces
3
Length
29.5
Width
25.8
Description
A. DOLL, 28CM L X 11CM W. PLASTIC DOLL WITH BROWN HAIR AND BROWN EYES. BACK HAS BLACK TEXT STAMPED, “201307”. LEFT HAND AND RIGHT ARM STAINED WITH PINK RESIDUE; OVERALL VERY GOOD CONDITION. B. PAMPHLET, 19.5CM L X 14CM W. COVER FEATURES PINK AND PURPLE GEOMETRIC DESIGN WITH IMAGE OF TWO DOLLS INSIDE A WHITE HEART, FIRST DOLL IN THE IMAGE APPEARS NORMAL AND THE SECOND DOLL IN THE IMAGE IS “DRAGGED UP”. WHITE TEXT ON THE FRONT OF PAMPHELT READS, “SOCIAL, WWW.LETHBRIDGEPRIDE.CA, @LETHBRIDGE_PRIDE_FEST_, DRAG-A-DOLL, ELEGANZA EXTRAVAGANZA MAKEOVER CHALLENGE”. FRONT HAS WHITE VERTICAL BAND ALONG RIGHT EDGE WITH PINK TEXT, “LETHBRIDGE PRIDE FEST, #LETHBRIDGEPRIDEFEST, #YQLDIVACAB”. FRONT LOWER RIGHT CORNER HAS LOGO OF A RED HEART WITH AN ORANGE AND RAINBOW COLOURED BANNER STRETCHING HORIZONTALLY OVER THE HEART, WITH WHITE TEXT ON THE BANNER, “LETHBRIDGE PRIDEFEST”. INSIDE OF PAMPHLET CONTAINS CONTEST RULES. BACK OF PAMPHLET HAS WHITE TEXT ON PINK BANNER ALONG TOP EDGE, “REFERENCES, DRAG-A-DOLL MAKEOVER CHALLENGE; CENTER OF BACK SHOWS SEVEN WHITE HEARTS WITH EXAMPLES OF “DRAGGED UP” DOLLS; BOTTOM EDGE HAS PINK BANNER WITH WHITE TEXT, “PHOTO CREDIT: IG @MARK_JONATHAN_REPAINTS”. PAMPHLET IS CREASED AND FOLDED; OVERALL VERY GOOD CONDITION. C. PLASTIC BAG CONTAINING KIT, 29.5CM L X 25.8CM W. BAG IS CLEAR WITH BLUE AND YELLOW ZIP-CLOSURE RUNNING HORIZONTALLY ALONG TOP EDGE; BAG HAS TRANSPARENT “GLAD” LOGOS PRINTED ON FRONT. BAG IS CRINKLED AND FOLDED; OVERALL VERY GOOD CONDITION.
Subjects
TOY
Historical Association
ASSOCIATIONS
LEISURE
History
ON JULY 25, 2019, GALT MUSEUM CURATOR AIMEE BENOIT AND COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELISABETH HEGERAT REGARDING HER DONATION OF PRIDE MATERIALS. ON THE DRAG-A-DOLL KIT, HEGERAT NOTED, “I THINK PARTLY THE PURPOSE [OF THE DRAG-A-DOLL CONTEST] WAS TO GET RID OF A BUNCH OF NAKED BARBIE DOLLS. THE THEME THE YEAR BEFORE FOR THE [PRIDE] DANCE HAD BEEN LIFE IN PLASTIC BECAUSE THE SPECIAL GUEST HAD BEEN FORMER RUPAUL QUEEN, TRIXIE MATTEL. SO THEY WENT WITH THE BARBIE THEME AND THERE WAS THIS WHOLE ARCH OF NAKED BARBIE DOLLS. I DID NOT PERSONALLY SEE IT, BUT I HEARD OF IT, WHICH ENDED WITH NICK AND DEREK [ANSON] HAVING SEVERAL FULL GIANT TOOL [BOXES] FULL OF ONE HUNDRED PLUS NAKED BARBIES IN THEIR GARAGE THAT THEY DID NOT WANT. SO THE IDEA WAS THAT YOU COULD PICK UP A BARBIE, DRESS IT IN DRAG AND ENTER IT FOR TICKETS TO THE DEVA CABARET WHICH IS A FUND RAISER PRIDE HOSTED WITH THE CASINO, WHICH IS STILL RUNNING. IT’S AN ANNUAL EVENT. SO IT WAS BOTH A COMBINATION OF, LET’S GET RID OF THE BARBIE’S AND LET’S DO SOMETHING CREATIVE AS AN EVENT PROMOTION.” “TO ENTER [THE CONTEST]…YOU HAVE [TO] SUBMIT [YOUR] PICTURES ONLINE AND THEN YOU HAD TO RETURN THE DOLL TO EITHER CAT WALK OR DRUNKEN SAILOR, IF YOU WANTED TO OFFICIALLY ENTER AND HAVE YOUR DOLL BE JUDGED. I KNOW THAT WE DID NOT GIVE AWAY SEVERAL HUNDRED BARBIE’S, BUT I THINK THERE HAD BEEN FIFTEEN OR TWENTY AT LEAST. I ALSO KNOW THAT THE LIBRARY QSA WANTED TO DO IT AT ONE OF THEIR MEETINGS, SO THAT IS WHAT THEY DID, THEY DID THE DRAG BARBIE’S.” “IT WOULD UP TO PEOPLE [PARTICIPATING] TO SOURCE THEIR OWN FABRIC, OR DUCT TAPE OF GLITTER AND WHATEVER ELSE THEY WANTED TO PUT ON. GARAGE SALE BARBIE DOLL CLOTHES AND GLUE SEQUINS ON THEM.” “THEY WERE JUDGED BY SOME OF THE QUEENS PARTICIPATING IN THE DEVA CABARET. I THINK IT MIGHT HAVE BEEN A COMBINATION OF A COUPLE PEOPLE FROM PRIDE FEST AND A COUPLE OF QUEENS…I BELIEVE THE [DRAGGED-UP] BARBIES WERE LOST TO THE AGES, BECAUSE THEY WERE ALL TOGETHER AND ALL LOST AT ONCE. POSSIBLY WHEN THE BOARD MEMBER ORGANIZING IT MOVED TO CALGARY, BUT THERE WAS AN INCIDENT IN THE MOVING THAT LOST THE BARBIE’S SOMEHOW.” IN AN INTERVIEW WITH HEGERAT FROM JULY 25, 2019, HEGERAT RECALLED HER TIME WORKING WITH THE LETHBRIDGE PRIDE FEST SOCIETY, NOTING, “I THINK IT WAS 2016 THAT I FIRST STARTED VOLUNTEERING WITH THE PRIDE BOARD…WHEN WE MOVED HERE IN 2006…PRIDE IN THE PARK DIDN’T EXIST, OR THE PARADE, OR ANYTHING ELSE. THERE WAS A BARBECUE, AND WE NEVER REALLY WENT TO IT, BECAUSE WE DIDN’T KNOW ANYBODY…WE KNEW WE COULD SHOW UP AND PEOPLE WOULD BE GLAD WE WERE THERE, AND EVERYTHING ELSE, BUT IT STILL KIND OF FELT LIKE WE WOULD HAVE BEEN CRASHING SOMEBODY’S FAMILY BARBECUE, BECAUSE WE DIDN’T KNOW ANYONE.” “WHEN PRIDE IN THE PARK STARTED, I KNOW THERE WERE A COUPLE OF YEARS WHERE WE WANDERED OVER AND CHECKED IT OUT, AND EVERYTHING ELSE, BUT [I] DIDN’T REALLY KNOW ANYBODY. WHEN, I THINK IT WAS 2015, [ONE OF THE PRIDE IN THE PARK PROGRAMS] WAS THEY HAD AN AUTHOR FROM CALGARY, A POET, COME AND DO A READING…WE WENT, AND WE LISTENED TO HER READ, AND I KNOW THE PEOPLE AT THE U OF L BOOKSTORE QUITE WELL THROUGH DOING LIBRARY STUFF, AND SO WAS HANGING OUT WITH BECKY COLBECK, AND KARI TANAKA, AND ONE OF THEIR BOOKSTORE STAFF, NICK ANTSON—HE AND HIS HUSBAND, DERRICK, WERE ON THE PRIDE BOARD. SO I ENDED UP TALKING WITH THEM, AND THEN STARTED THINKING…“MAYBE WE SHOULD DO SOMETHING AT THE LIBRARY NEXT YEAR.” AND THAT, AND SORT OF A FEW OTHER COMMITMENTS WITH WORK, AND A PUSH FROM THE LIBRARY TO GET MORE INVOLVED…IN THE COMMUNITY…I SHOWED UP FOR THE FIRST PRIDE FEST BOARD MEETING, AND JUST KEPT SHOWING UP…AT THE BEGINNING OF THE YEAR IN, I THINK THE MEETING WOULD HAVE BEEN LIKE OCTOBER, 2015, BUT IT WAS FOR THE 2016 PRIDE. SO, I HAVE BEEN INVOLVED AS A VOLUNTEER SINCE THEN, AND HAVE DONE SOME WORK LIAISING BACK AND FORTH BETWEEN PRIDE FEST AND THE LIBRARY FOR PARTNER PROGRAMS…FOR 2019 PRIDE, I’M FINISHING MY FIRST TERM AS AN ELECTED BOARD MEMBER.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20190020001-GA.
Catalogue Number
P20190020042
Acquisition Date
2019-07
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
METAL
Catalogue Number
P20120038002
  1 image  
Material Type
Artifact
Date Range From
1970
Date Range To
1980
Materials
METAL
No. Pieces
1
Height
3.9
Diameter
38.1
Description
SILVER METAL REEL; 10 METAL RODS CONNECT FROM OUTER METAL RING TO INNER SPOKE; REEL HAS TWO PARALLEL SETS OF RODS CONNECTING TO INNER SPOKE. INNER SPOKE IS SURROUNDED BY METAL CIRCULAR CASING IN FIVE PIECES WITH HOLES CUT OUT OF METAL. INNER SPOKE, CASING, AND METAL RODS ARE RUSTED; CASING PIECE HAS ENGRAVED TEXT “MADE IN U.S.A.” OVERALL VERY GOOD CONDITION.
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.” LARRY BECKER DISCUSSED THE PURPOSE OF THE FILM REEL IN THE THEATRE, STATING, “[THIS WIRE REEL] IS A PROJECTION ROOM REEL, AND A GOOD, WELL-EQUIPPED PROJECTION ROOM WOULD HAVE A FULL SET OF THESE, AND WOULD NEVER USE THESE IN A PROJECTOR, BECAUSE THEY ARE USUALLY BENT UP, AND NOT IN VERY GOOD SHAPE. “[WE WOULD TAKE THE SHIPPING REEL, WITH THE FILM ON IT, AND THEN] WIND IT ON TO THE WIRE. IF YOU DIDN’T HAVE THEM…YOU COULD USE THE SHIPPING REELS. A LOT OF THEATRES ENDED UP RUNNING OFF SHIPPING REELS, ULTIMATELY, ESPECIALLY WHEN THEY BECAME PLASTIC, BECAUSE THEY DIDN’T BANG UP SO BAD.” 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.” “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
P20120038002
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
TIN, BRASS
Catalogue Number
P20120038003
  1 image  
Material Type
Artifact
Date Range From
1970
Date Range To
1980
Materials
TIN, BRASS
No. Pieces
1
Height
4
Diameter
38.3
Description
SILVER METAL REEL WITH BRASS SPOKE IN CENTER; REEL IS COMPRISED OF TWO CIRCULAR METAL PIECES FIXED TO BRASS SPOKE; SURFACES OF METAL SIDES HAVE FOUR LARGE HOLES CUT-OUT, FOUR MEDIUM HOLES CUT-OUT, AND FOUR SMALL HOLES CUT-OUT. CIRCULAR SCRATCHES RING CENTER OF BOTH SIDES OF REEL. BOTH SIDES OF REEL ARE SCRATCHED FROM WEAR. OVERALL GOOD CONDITION.
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.” LARRY BECKER DISCUSSED THE PURPOSE OF THE FILM REEL IN THE THEATRE, STATING, “[THIS IS A] SHIPPING REEL. WHEN FILMS WERE SHIPPED IN THE FILM BALLS TO THE THEATRES, THIS IS THE KIND OF REEL THEY CAME ON.” “[WE WOULD TAKE THE SHIPPING REEL, WITH THE FILM ON IT, AND THEN] WIND IT ON TO THE [WIRE REEL]. IF YOU DIDN’T HAVE THEM…YOU COULD USE THE SHIPPING REELS. A LOT OF THEATRES ENDED UP RUNNING OFF SHIPPING REELS, ULTIMATELY, ESPECIALLY WHEN THEY BECAME PLASTIC, BECAUSE THEY DIDN’T BANG UP SO BAD.” 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.” “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
P20120038003
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
Metal
Catalogue Number
P20120038004
  2 images  
Material Type
Artifact
Date Range From
1970
Date Range To
1980
Materials
Metal
No. Pieces
1
Height
4
Diameter
25.3
Description
TARNISHED METAL REEL; TWO CIRCULAR METAL SIDES ATTACHED WITH A CENTRAL SPOKE; BOTH CIRCULAR PIECES HAVE FIVE LARGE HOLES CUT-OUT. FIVE HOOKS CONNECT THE CENTRAL SPOKE TO BOTH SIDES. TEXT ENGRAVED ON THE SURFACE OF BOTTOM SIDE READS “WARNER BROS., TAYLOREEL CORP., ROCHESTER, N.Y.” TEXT ENGRAVED ON THE SURFACE OF THE TOP SIDE READS “TAYLOREEL CORP., ROCHESTER, N.Y.” SIDES AND CENTRAL SPOKE ARE RUSTED. OVERALL GOOD CONDITION.
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 WATERTAN THEATRE IN SOUTHERN ALBERTA WHERE THE PROJECTION EQUIPMENT WAS USED. DURING THE INTERVIEW, THE BECKERS ELABORATED ON HOW THEIR THEATRE CAME TO A CLOSE, 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.” LARRY BECKER DISCUSSED THE PURPOSE OF THE FILM REEL IN THE THEATRE, STATING, “[THIS IS A] SHIPPING REEL. WHEN FILMS WERE SHIPPED IN THE FILM BALLS TO THE THEATRES, THIS IS THE KIND OF REEL THEY CAME ON.” “[WE WOULD TAKE THE SHIPPING REEL, WITH THE FILM ON IT, AND THEN] WIND IT ON TO THE [WIRE REEL]. IF YOU DIDN’T HAVE THEM…YOU COULD USE THE SHIPPING REELS. A LOT OF THEATRES ENDED UP RUNNING OFF SHIPPING REELS, ULTIMATELY, ESPECIALLY WHEN THEY BECAME PLASTIC, BECAUSE THEY DIDN’T BANG UP SO BAD.” 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.” “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
P20120038004
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
METAL, PLASTIC, STEEL
Catalogue Number
P20120038005
  2 images  
Material Type
Artifact
Date Range From
1970
Date Range To
1980
Materials
METAL, PLASTIC, STEEL
No. Pieces
2
Height
15.7
Length
18.6
Width
21
Description
A. SILVER FILM SPLICER WITH BLACK HANDLE; HANDLE LOWERS TO PRESS ON TABLE WITH SPLICERS; SILVER AND BLUE LABEL ON HANDLE READS, “GENERAL SOUND AND THEATRE EQUIPMENT LIMITED”. SPLICER HAS TAPE DISPENSER BELOW HANDLE WITH DISCOLOURED/YELLOWED CLEAR TAPE; BLUE TEXT BENEATH TAPE REPEATS “GENERAL SOUND” WITH A BLACK DIAL BESIDE THE TAPE ROLL FOR TURNING TAPE ON DISPENSER. TEXT ON TOP OF SPLICER AT UPPER LEFT CORNER READS “COSTRUZIONE INCOLLATRICI RAPIDE – ROMA”; TEXT ON TOP OF SPLICER AT UPPER RIGHT CORNER READS “M.2 – 35M/M, MADE IN ITALY, PATENTED”. SPLICER HAS A DOUBLE KNIFE ON RIGHT SIDE, WITH ONE STRAIGHT CUT AND ONE DIAGONAL CUT FOR FILM. SILVER LABEL ON INSIDE OF SPLICER READS “RENTED FROM, CANADIAN MOTION PICTURE EQUIPMENT RENTALS LTD., 33 GRANBY ST., TORONTO M5B 1H8, 977-7113”. SILVER LABEL ON BOTTOM OF SPLICER READS “MADE IN ITALY, OFFICINE MECCANICHE, DR. LEO CATOZZO, 00050 SANTA SEVERA (ROMA), TEL 0766 /740008-740181”. TEXT EMBOSSED ON BOTTOM OF SPLICER READS “USA PATENTS N.3075572, N.4002522, COSTRUZIONE INCOLLATRICI RAPIDE ROMA, 2575”. SPLICER HANDLE IS WORN AT EDGES; SPLICER HAS DIRT AND RUST UNDER HANDLE. SPLICER IS IN OVERALL VERY GOOD CONDITION AND SHOWS MINOR SIGNS OF WEAR. B. ROLL OF YELLOW TAPE, 4.5CM DIAMETER X 3.7CM TALL. YELLOW PLASTIC TAPE WOUND ON WHITE PLASTIC SPOOL; TAPE HAS ORANGE TAB AT END OF ROLL; TAPE HAS GLOSS FINISH. TAPE IS UNUSED; OVERALL EXCELLENT CONDITION.
Subjects
PHOTOGRAPHIC 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.” LARRY BECKER DISCUSSED THE PURPOSE OF THE SPLICER IN THE THEATRE, STATING, “WHEN I STARTED WORKING WITH [THE SPLICER], WHEN WE WERE USING THE ACETATE FILM, THIS SPLICER WAS USED PRIMARILY TO SPLICE THE MYLAR FILM STOCKS. THE ACETATE FILM STOCKS THAT I LEARNED TO SPLICE ON, YOU ACTUALLY GLUED THE SPLICES TOGETHER.” “A FILM FRAME HAS 4 PERFORATIONS ON IT SO, TO MAKE A GLUE SPLICE, YOU WOULD CUT A ‘PIE’ PERFORATION PIECE, AND OVERLAP ONE [PERFORATION] AND ACTUALLY PUT IT TOGETHER. THAT WAS A BIT OF AN ART. “I USED THAT SPLICER, SINCE PROBABLY ABOUT 1980. THE…SPLICER WOULD HAVE BEEN OBSOLETE, SHORTLY AFTER I STARTED WORKING, BUT WE USED TO DO ALL THE CURLERS ON IT.” 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.” “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
P20120038005
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Other Name
PROJECTOR LENS
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
GLASS, BRASS, PLASTIC
Catalogue Number
P20120038006
  2 images  
Material Type
Artifact
Other Name
PROJECTOR LENS
Date Range From
1970
Date Range To
1980
Materials
GLASS, BRASS, PLASTIC
No. Pieces
1
Length
26
Diameter
6.8
Description
PROJECTOR LENS; NARROW BRASS “MIN” LENS WITH INSCRIBED TEXT “KOLLMORGEN OPTICAL CORP. NORTHHAMPTON, MASS., MADE IN U.S.A., BX 241, F: 1.9, 3 ¼ IN., E.F. 65992”; SILVER CENTER RING WITH TWO BRASS-COLOURED ENGRAVED RINGS RUNNING AROUND WIDTH OF LENS AND TEXT “SUPER SNAPLITE”; WIDE “MAG” LENS IS BLACK WITH WHITE PRINTED TEXT “MAG, MAGNA – COM 65, 9122176, ISCO – GOTTINGEN, MADE IN GERMANY, MIN”. LENS BODY HAS SURFACE SCRATCHES AND CHIPPING, LENS GLASS HAS DUST AND DIRT SPOTS, AND BRASS FINISHING ON SILVER CENTER RING IS WORN AWAY. LENSES AND BODY IN OVERALL VERY GOOD CONDITION.
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.” 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 LENSES ARE…A COMPOSITE OF GLASS, AND THE ADHESIVES IN THEM DO BREAK DOWN AFTER A WHILE, ESPECIALLY WITH THE HEAT, SO LENSES HAVE TO BE REPLACED PERIODICALLY. [THE LENS WAS] FROM THE EARLY ‘90S. 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.” “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
P20120038006
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOD, METAL
Catalogue Number
P20190010001
  2 images  
Material Type
Artifact
Date
1945
Materials
WOOD, METAL
No. Pieces
1
Height
7.2
Length
12.2
Width
17.5
Description
WOOD BOX WITH DARK-WOOD TONES AND LIGHTER WOOD BASE; BOX HAS CARVED SCROLL PATTERN ON TOP WITH CARVED TEXT, “MY DARLING IRENE”; BOX HAS CARVED SCROLL PATTERN ON FRONT WITH CARVED TEXT, “HOLLAND 1945”. BOX HAS NAILS IN SIDES AND ATTACHED TO BASE; BOX HAS BRASS HINGES ON BACK. INSIDE OF BOX HAS MINOR RESIDUE AND STAINING; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
DECORATIVE ARTS
FURNISHINGS
MILITARY
History
ON JUNE 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CAROL DARMODY REGARDING HER DONATION OF OBJECTS RELATED TO HER PARENTS, IRENE (NEE NAGY) AND JOHN FROUWS. ON THE CARVED BOX, DARMODY SHARED, “DAD SENT [THE BOX] FROM OVERSEAS, TO MOM, FROM HOLLAND…HE DID SEND A FEW THINGS, BUT IT WAS MAINLY THE LETTER-WRITING BACK-AND-FORTH. HE MADE SURE MOM SENT BOXES OF COOKIES, AND DIFFERENT THINGS…MORE PSYCHOLOGICAL, THAN NEEDING THE COOKIES.” ON HER FATHER’S SERVICE IN THE CANADIAN MILITARY, DARMODY RECALLED, “I THINK IT WAS POVERTY [THAT MOTIVATED DAD TO ENLIST]…DAD STRUGGLED IN THE 1930S. HE WAS PULLED OUT OF GRADE 11 TO WORK IN THE COAL MINE, AND HE GOT A LUCKY BREAK FROM BILL HOPE, TO WORK IN GALT GARDENS WITH PLANTS, BEFORE HE SIGNED UP [FOR THE WAR EFFORT]. THAT WAS SIGNIFICANT, AND THEY BECAME FRIENDS WHEN HE RETURNED FROM THE WAR, TOO…HE WAS A GOOD MENTOR TO DAD, AND THAT’S WHERE THE KNOWLEDGE OF PLANTS GREW. [DAD] ENLISTED, BECAUSE THEN HE HAD A CHOICE. HE DIDN’T WANT TO FIGHT IN THE FRONT-LINE, SO, IF YOU VOLUNTEERED EARLY, YOU GOT TO PICK AND CHOOSE WHAT YOU WANTED TO DO, SO HE PICKED ELECTRICAL ENGINEER, AND HE WAS REALLY WELL-TRAINED.” “MY DAD’S FAMILY CAME [FROM HOLLAND] IN THE ‘20S—’25—AND HIS DAD WANTED TO BE A FARMER HERE, AND HE WAS THE OLDEST, SO HE AGREED TO EMIGRATE FROM HOLLAND. THERE WASN’T ENOUGH LAND [IN HOLLAND]…AND HE DECIDED HE WANTED TO FARM SOMEWHERE ELSE, ‘CAUSE IT WOULDN’T HAVE WORKED OUT STAYING IN HOLLAND. SO, BECAUSE HE DIED IN THE ‘30S, TRYING TO SAVE THAT LITTLE BOY…WHO HAD FALLEN THROUGH THE ICE NEAR THE WEIR IN THE OLDMAN RIVER. THEY BOTH DROWNED…BUT HE HAD A FEW FAILURES, I THINK, WITH FARMING, AND HE DID WORK FOR THE COAL MINING COMPANY…WHEN HE DIED, THE CITY OF LETHBRIDGE GAVE HIS WIDOW, AND THE FAMILY, $30.00 A MONTH [I THINK IT WAS RELIEF MONEY]. SO DAD WAS HIGHLY-MOTIVATED. HE DIDN’T WANT TO GO OVERSEAS, AND BE KILLED…BUT, IF HE SIGNED UP EARLY, HE COULD PICK AND CHOOSE WHAT HE WANTED TO DO, AND START SENDING MONEY TO HIS MOTHER…ONLY DAD’S OLDEST SIBLING, GERTRUDE, WAS MARRIED. HIS OTHER SIBLINGS, ALICE, TINA, HARRY, AND JIM WERE YOUNGER AND NOT ABLE TO FINANCIALLY SUPPORT THEIR MOTHER. THE THREE YOUNGEST WERE STILL IN SCHOOL…THEY WEREN’T OF AN AGE WHERE THEY COULD WORK, AND SUPPORT THE MOTHER. SO, HE WAS IN A GOOD POSITION TO DO SO, BY SIGNING UP [FOR THE MILITARY IN 1940].” “[DAD] REALLY FELT CANADIAN, THROUGH-AND-THROUGH…AS A KID, HIS PARENTS TRUSTED HIM. HE WOULD BE GONE ALL WEEKEND, AT ALEXANDER WILDERNESS, JUST CAMPING WITH A FRIEND. THEY DIDN’T WORRY ABOUT HIM AT THE RIVER BOTTOM. HE LOVED THE COULEES…THIS WAS HOME. HOLLAND DIDN’T MEAN ANYTHING TO HIM, BECAUSE HE WAS SO YOUNG WHEN HE CAME HERE…HIS MOM COULDN’T GO BACK, AND SHE PROBABLY HADN’T BONDED AS WELL TO SOUTHERN ALBERTA, ESPECIALLY WITHOUT HER HUSBAND…THE IRONY…HE SPENT A LOT OF TIME IN HOLLAND [DURING THE SECOND WORLD WAR], AND HE WAS AN ASSET, BECAUSE HE COULD SPEAK SOME DUTCH, I’M NOT SURE HOW WELL, BUT IN EMERGENCIES THEY WOULD USE HIM. ONE GERMAN WOMAN WAS HIT BY ONE OF THE FORCES. SHE WAS OK, BUT HE HAD TO TAKE HER HOME. HE KNEW ENOUGH TO COMMUNICATE IN GERMAN, AND IN DUTCH, WITH THE FAMILY, WHAT HAD HAPPENED. BUT, HE WASN’T A CANADIAN CITIZEN…THEY JUST QUIETLY GAVE HIM HIS PAPERS LIKE, CAME TO HIS HOUSE…I DON’T KNOW WHEN THAT WAS…HE JUST NEVER THOUGHT OF IT, AND HE SERVED OVERSEAS. AND, AT THE END, I GUESS, OR MAYBE DURING…THEY FOUND OUT HE WASN’T CANADIAN, SO THEY QUIETLY GAVE HIM THE PAPER.” DARMODY ELABORATED ON HER PARENTS’ RELATIONSHIP, NOTING, “FOR DAD, [THE RELATIONSHIP WITH MOM] STARTED REALLY EARLY. MOM WAS 4 YEARS OLDER, AND HE FELL IN LOVE WITH HER WHEN HE WAS A LITTLE BOY. HE WOULD PLAY WITH HER YOUNGEST BROTHER, BUT 3-4 YEARS [AGE DIFFERENCE WHEN] YOU’RE YOUNG, IS A LOT…HE PROBABLY WAS A NICE KID, BUT SHE DIDN’T SHOW ANY INTEREST. BUT HE FELL IN LOVE WITH HER EARLY, AND HE PROCEEDED…MOM WOULD HAVE BEEN [LIVING] IN DIAMOND CITY. DAD MIGHT HAVE BEEN ON THE NORTH SIDE THEY HAD A LITTLE HOUSE.” “THINGS WERE HAPPENING DURING THE GREAT DEPRESSION. MY MATERNAL GRANDMOTHER [VERONA NAGY], HAD AN EXTREMELY UNHAPPY MARRIAGE. MY GRANDFATHER [STEVE NAGY], ALLEGEDLY DRANK TOO MUCH AND WOULD OFTEN SQUANDER HIS MEAGRE COAL-MINING EARNINGS ON ALCOHOL. IN 1933, SHE DECIDED TO HOMESTEAD IN PEACE RIVER AREA [HARMON VALLEY]. HER THIRD OLDEST SON [LEWIS] CAME WITH HER, AND HE BUILT HER A LOVELY LOG CABIN. DURING THE DEPRESSION, MOM [IRENE NAGY] SPENT TIME IN CHICAGO WITH HER BROTHER STEVE AND HIS FAMILY. SHE ALSO ALTERNATED BETWEEN LETHBRIDGE AND PEACE RIVER. IN PEACE RIVER THEY HAD LOTS TO EAT BUT VERY LITTLE MONEY. THROUGH HER YOUNGEST BROTHER, MITCH, MOM MOST LIKELY LEARNED THAT DAD WAS ABOUT TO ENLIST IN [THE SECOND WORLD WAR]. IN 1939, MY PARENTS ALLEGEDLY STARTED DATING. THEY WOULD SPEND LOTS OF TIME IN THE COULEES HAVING PICNICS AND PICKING SASKATOON BERRIES…THE THIRD OLDEST BROTHER, AND ALL HER SIBLINGS, EXCEPT FOR HER SISTER, MARY, MOVED EVENTUALLY TO PEACE RIVER, AND JUST THE TWO SISTERS REMAINED. DAD ASKED MOM, WHEN THEY MARRIED IN ’43, TO MAKE HER HOME BASE LETHBRIDGE. SHE WAS GOING BACK AND FORTH…TO HELP HER MOM.” “THEY STARTED TO COURT IN THE ‘40S [AND MARRIED IN 1943], BECAUSE HE GOT A LEAVE FROM THE TRAINING CAMP IN ONTARIO…SHE WAS IN PEACE RIVER AT THE TIME, WHEN HE ASKED HER TO MARRY HIM, AND HE WAS ON A SHORT LEAVE. HE TOOK HIS MOTHER, IN HIS CAR, FROM LETHBRIDGE TO PEACE RIVER, AND IT WAS LIKE A MAJOR EXCURSION ON GRAVEL ROADS, TO MEET MOM, AND THEN THE TWO MOTHERS WERE TOGETHER.” DARMODY ELABORATED ON HOW SHE OBTAINED HER PARENTS’ COLLECTION INCLUDING THE TROPHY, NOTING, “[THE OBJECTS CAME INTO MY POSSESSION TOGETHER]…WHEN DAD DIED…[IN] 2011.” “[I WANTED TO KEEP THEM BECAUSE] THEY CONNECT ME TO THE PAST, AND WHEN…THE FORMER GOVERNOR-GENERAL’S WIFE WAS IN LETHBRIDGE, SHE WROTE THAT BOOK, ‘MATRONS AND MADAMS’, SHE SAID IT USUALLY TAKES 3-4 GENERATIONS FOR THE WAR EFFECTS TO BE ELIMINATED, FROM THE GREAT-GREAT-GREAT GRANDKIDS, SO, I WAS INDIRECTLY AFFECTED BY THE WAR…I HAD TO TEACH SOCIAL STUDIES AT ONE POINT, IN VANCOUVER, SO I LEARNED, DID A LOT OF PREPARATION. DAD WAS SUPPORTING HIS WIDOWED MOTHER…AFTER 1943, HE WAS SENDING MONEY TO MOM. HE DIDN’T HAVE A LOT OF SPARE MONEY TO BUY THINGS AND SEND BACK HOME…SO THE THINGS HE SENT WERE HUMBLE.” ACCORDING TO THE SERVICE PAY BOOKS OF JOHN W. FROUWS HELD IN THE GALT ARCHIVES [20191038011], STAFF SERGEANT FROUWS [M-35922] ATTESTED WITH THE CANADIAN FORCES ON JUNE 3, 1941. THE WAR DIARY OF THE 10TH CANADIAN FIELD PARK COMPANY, ROYAL CANADIAN ENGINEERS, HELD IN THE GALT ARCHIVES [20191038023] DETAILS THE ACTIONS OF ST. SGT. FROUWS AND HIS COMPANY. AT CAMP PETAWAWA, ONTARIO IN 1942, THE 10TH CANADIAN FIELD PARK COMPANY TOOK ON MEMBERS OF THE 2ND CORPS. FIELD PARK COMPANY, R.C.E., AND ON JULY 22ND, 1942 THE UNIT WAS CHANGED TO THE 2ND CORPS. FIELD PARK COMPANY, R.C.E. ON AUGUST 14TH, 1943, THE NEW WAR ESTABLISHMENT CREATED AN ELECTRICAL AND MECHANICAL UNIT WITHIN THE FIELD PARK COMPANY. AN ENTRY FROM MARCH 1, 1943 RECORDS FROUWS AS BEING PROMOTED FROM L.CPL. TO A.CPL. AT CAMP PETAWAWA, ONTARIO. FROUWS WAS FURTHER PROMOTED TO L.SGT. ON JUNE 24, 1943 AT ALDERSHOT, NOVA SCOTIA, TO A.SGT. ON JULY 26, 1943, AND TO S.SGT. ON SEPTEMBER 29, 1943 AT MICKLEHAM, SURREY, ENGLAND. THE 2ND CORPS. FIELD PARK COMPANY MOVED FROM CAMP PETAWAWA, ONTARIO TO HALIFAX, NOVA SCOTIA BEFORE PROCEEDING TO ENGLAND IN AUGUST 1943. THE UNIT SAILED FROM ENGLAND TO JUNO BEACH, NORMANDY IN TWO PARTS ON JULY 11, 1944. ON JULY 14, 1944, S.SGT. FROUWS WAS LISTED AS ACCOMPANYING L.CPL. TRETHEWAY IN “DE-BOOBY-TRAPPING” THE TELEPHONE EXCHANGE IN CAEN, FRANCE. THE COMPANY PROCEEDED THROUGH HOLLAND AND BELGIUM IN 1944 AND 1945, STATIONING AT NIJMEGEN, HOLLAND ON SEPTEMBER 22, 1944, BOURG LEOPOLD, BELGIUM ON SEPTEMBER 29, 1944, WEMMEL, BELGIUM ON OCTOBER 2, 1944, KESSEL, BELGIUM ON OCTOBER 10, 1944, AND TILBURG, HOLLAND BY NOVEMBER 1944. THE COMPANY REMAINED IN HOLLAND UNTIL APRIL 19, 1945, WHEN IT MOVED TO NORDHORN, GERMANY AND REMAINED THROUGH VE DAY ON MAY 9, 1945. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF THE LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190010001-GA.
Catalogue Number
P20190010001
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20190010003
  2 images  
Material Type
Artifact
Date
1945
Materials
WOOD
No. Pieces
1
Height
7.3
Diameter
30.6
Description
BROWN WOODEN BOWL; BOWL HAS SCALLOPED EDGES; BOWL TAPERS FROM TOP TO BASE; BOWL IS CARVED INWARDS FROM UPPER EDGES. INSIDE OF BOWL HAS CARVED WREATH OF LEAVES WITH TEXT AT THE TOP, “HOLLAND”, AND TEXT AT THE BOTTOM, “1945”, AND CARVED FLOWER IN THE CENTER. BASE HAS A HOLE CARVED IN THE CENTER. BOWL HAS MINOR DUST AND RESIDUE INSIDE; BOWL HAS LIGHT WEAR AND SCRATCHING INSIDE AND ON OUTSIDE; OVERALL VERY GOOD CONDITION.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DECORATIVE ARTS
FURNISHINGS
MILITARY
History
ON JUNE 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CAROL DARMODY REGARDING HER DONATION OF OBJECTS RELATED TO HER PARENTS, IRENE (NEE NAGY) AND JOHN FROUWS. ON THE BOWL, DARMODY SHARED, “DAD SENT [THE BOWL] FROM OVERSEAS, TO MOM, FROM HOLLAND…HE WATCHED THE GUY MAKE THIS [BOWL]…HE DID SEND A FEW THINGS, BUT IT WAS MAINLY THE LETTER-WRITING BACK-AND-FORTH. HE MADE SURE MOM SENT BOXES OF COOKIES, AND DIFFERENT THINGS…MORE PSYCHOLOGICAL, THAN NEEDING THE COOKIES.” “[THE BOWL WAS USED BY MY MOM AS A] JEWELRY BOX—THIS WAS PROBABLY ON THAT TABLE FOREVER.” ON HER FATHER’S SERVICE IN THE CANADIAN MILITARY, DARMODY RECALLED, “I THINK IT WAS POVERTY [THAT MOTIVATED DAD TO ENLIST]…DAD STRUGGLED IN THE 1930S. HE WAS PULLED OUT OF GRADE 11 TO WORK IN THE COAL MINE, AND HE GOT A LUCKY BREAK FROM BILL HOPE, TO WORK IN GALT GARDENS WITH PLANTS, BEFORE HE SIGNED UP [FOR THE WAR EFFORT]. THAT WAS SIGNIFICANT, AND THEY BECAME FRIENDS WHEN HE RETURNED FROM THE WAR, TOO…HE WAS A GOOD MENTOR TO DAD, AND THAT’S WHERE THE KNOWLEDGE OF PLANTS GREW. [DAD] ENLISTED, BECAUSE THEN HE HAD A CHOICE. HE DIDN’T WANT TO FIGHT IN THE FRONT-LINE, SO, IF YOU VOLUNTEERED EARLY, YOU GOT TO PICK AND CHOOSE WHAT YOU WANTED TO DO, SO HE PICKED ELECTRICAL ENGINEER, AND HE WAS REALLY WELL-TRAINED.” “MY DAD’S FAMILY CAME [FROM HOLLAND] IN THE ‘20S—’25—AND HIS DAD WANTED TO BE A FARMER HERE, AND HE WAS THE OLDEST, SO HE AGREED TO EMIGRATE FROM HOLLAND. THERE WASN’T ENOUGH LAND [IN HOLLAND]…AND HE DECIDED HE WANTED TO FARM SOMEWHERE ELSE, ‘CAUSE IT WOULDN’T HAVE WORKED OUT STAYING IN HOLLAND. SO, BECAUSE HE DIED IN THE ‘30S, TRYING TO SAVE THAT LITTLE BOY…WHO HAD FALLEN THROUGH THE ICE NEAR THE WEIR IN THE OLDMAN RIVER. THEY BOTH DROWNED…BUT HE HAD A FEW FAILURES, I THINK, WITH FARMING, AND HE DID WORK FOR THE COAL MINING COMPANY…WHEN HE DIED, THE CITY OF LETHBRIDGE GAVE HIS WIDOW, AND THE FAMILY, $30.00 A MONTH [I THINK IT WAS RELIEF MONEY]. SO DAD WAS HIGHLY-MOTIVATED. HE DIDN’T WANT TO GO OVERSEAS, AND BE KILLED…BUT, IF HE SIGNED UP EARLY, HE COULD PICK AND CHOOSE WHAT HE WANTED TO DO, AND START SENDING MONEY TO HIS MOTHER…ONLY DAD’S OLDEST SIBLING, GERTRUDE, WAS MARRIED. HIS OTHER SIBLINGS, ALICE, TINA, HARRY, AND JIM WERE YOUNGER AND NOT ABLE TO FINANCIALLY SUPPORT THEIR MOTHER. THE THREE YOUNGEST WERE STILL IN SCHOOL…THEY WEREN’T OF AN AGE WHERE THEY COULD WORK, AND SUPPORT THE MOTHER. SO, HE WAS IN A GOOD POSITION TO DO SO, BY SIGNING UP [FOR THE MILITARY IN 1940].” “[DAD] REALLY FELT CANADIAN, THROUGH-AND-THROUGH…AS A KID, HIS PARENTS TRUSTED HIM. HE WOULD BE GONE ALL WEEKEND, AT ALEXANDER WILDERNESS, JUST CAMPING WITH A FRIEND. THEY DIDN’T WORRY ABOUT HIM AT THE RIVER BOTTOM. HE LOVED THE COULEES…THIS WAS HOME. HOLLAND DIDN’T MEAN ANYTHING TO HIM, BECAUSE HE WAS SO YOUNG WHEN HE CAME HERE…HIS MOM COULDN’T GO BACK, AND SHE PROBABLY HADN’T BONDED AS WELL TO SOUTHERN ALBERTA, ESPECIALLY WITHOUT HER HUSBAND…THE IRONY…HE SPENT A LOT OF TIME IN HOLLAND [DURING THE SECOND WORLD WAR], AND HE WAS AN ASSET, BECAUSE HE COULD SPEAK SOME DUTCH, I’M NOT SURE HOW WELL, BUT IN EMERGENCIES THEY WOULD USE HIM. ONE GERMAN WOMAN WAS HIT BY ONE OF THE FORCES. SHE WAS OK, BUT HE HAD TO TAKE HER HOME. HE KNEW ENOUGH TO COMMUNICATE IN GERMAN, AND IN DUTCH, WITH THE FAMILY, WHAT HAD HAPPENED. BUT, HE WASN’T A CANADIAN CITIZEN…THEY JUST QUIETLY GAVE HIM HIS PAPERS LIKE, CAME TO HIS HOUSE…I DON’T KNOW WHEN THAT WAS…HE JUST NEVER THOUGHT OF IT, AND HE SERVED OVERSEAS. AND, AT THE END, I GUESS, OR MAYBE DURING…THEY FOUND OUT HE WASN’T CANADIAN, SO THEY QUIETLY GAVE HIM THE PAPER.” DARMODY ELABORATED ON HER PARENTS’ RELATIONSHIP, NOTING, “FOR DAD, [THE RELATIONSHIP WITH MOM] STARTED REALLY EARLY. MOM WAS 4 YEARS OLDER, AND HE FELL IN LOVE WITH HER WHEN HE WAS A LITTLE BOY. HE WOULD PLAY WITH HER YOUNGEST BROTHER, BUT 3-4 YEARS [AGE DIFFERENCE WHEN] YOU’RE YOUNG, IS A LOT…HE PROBABLY WAS A NICE KID, BUT SHE DIDN’T SHOW ANY INTEREST. BUT HE FELL IN LOVE WITH HER EARLY, AND HE PROCEEDED…MOM WOULD HAVE BEEN [LIVING] IN DIAMOND CITY. DAD MIGHT HAVE BEEN ON THE NORTH SIDE THEY HAD A LITTLE HOUSE.” “THINGS WERE HAPPENING DURING THE GREAT DEPRESSION. MY MATERNAL GRANDMOTHER [VERONA NAGY], HAD AN EXTREMELY UNHAPPY MARRIAGE. MY GRANDFATHER [STEVE NAGY], ALLEGEDLY DRANK TOO MUCH AND WOULD OFTEN SQUANDER HIS MEAGRE COAL-MINING EARNINGS ON ALCOHOL. IN 1933, SHE DECIDED TO HOMESTEAD IN PEACE RIVER AREA [HARMON VALLEY]. HER THIRD OLDEST SON [LEWIS] CAME WITH HER, AND HE BUILT HER A LOVELY LOG CABIN. DURING THE DEPRESSION, MOM [IRENE NAGY] SPENT TIME IN CHICAGO WITH HER BROTHER STEVE AND HIS FAMILY. SHE ALSO ALTERNATED BETWEEN LETHBRIDGE AND PEACE RIVER. IN PEACE RIVER THEY HAD LOTS TO EAT BUT VERY LITTLE MONEY. THROUGH HER YOUNGEST BROTHER, MITCH, MOM MOST LIKELY LEARNED THAT DAD WAS ABOUT TO ENLIST IN [THE SECOND WORLD WAR]. IN 1939, MY PARENTS ALLEGEDLY STARTED DATING. THEY WOULD SPEND LOTS OF TIME IN THE COULEES HAVING PICNICS AND PICKING SASKATOON BERRIES…THE THIRD OLDEST BROTHER, AND ALL HER SIBLINGS, EXCEPT FOR HER SISTER, MARY, MOVED EVENTUALLY TO PEACE RIVER, AND JUST THE TWO SISTERS REMAINED. DAD ASKED MOM, WHEN THEY MARRIED IN ’43, TO MAKE HER HOME BASE LETHBRIDGE. SHE WAS GOING BACK AND FORTH…TO HELP HER MOM.” “THEY STARTED TO COURT IN THE ‘40S [AND MARRIED IN 1943], BECAUSE HE GOT A LEAVE FROM THE TRAINING CAMP IN ONTARIO…SHE WAS IN PEACE RIVER AT THE TIME, WHEN HE ASKED HER TO MARRY HIM, AND HE WAS ON A SHORT LEAVE. HE TOOK HIS MOTHER, IN HIS CAR, FROM LETHBRIDGE TO PEACE RIVER, AND IT WAS LIKE A MAJOR EXCURSION ON GRAVEL ROADS, TO MEET MOM, AND THEN THE TWO MOTHERS WERE TOGETHER.” DARMODY ELABORATED ON HOW SHE OBTAINED HER PARENTS’ COLLECTION INCLUDING THE TROPHY, NOTING, “[THE OBJECTS CAME INTO MY POSSESSION TOGETHER]…WHEN DAD DIED…[IN] 2011.” “[I WANTED TO KEEP THEM BECAUSE] THEY CONNECT ME TO THE PAST, AND WHEN…THE FORMER GOVERNOR-GENERAL’S WIFE WAS IN LETHBRIDGE, SHE WROTE THAT BOOK, ‘MATRONS AND MADAMS’, SHE SAID IT USUALLY TAKES 3-4 GENERATIONS FOR THE WAR EFFECTS TO BE ELIMINATED, FROM THE GREAT-GREAT-GREAT GRANDKIDS, SO, I WAS INDIRECTLY AFFECTED BY THE WAR…I HAD TO TEACH SOCIAL STUDIES AT ONE POINT, IN VANCOUVER, SO I LEARNED, DID A LOT OF PREPARATION. DAD WAS SUPPORTING HIS WIDOWED MOTHER…AFTER 1943, HE WAS SENDING MONEY TO MOM. HE DIDN’T HAVE A LOT OF SPARE MONEY TO BUY THINGS AND SEND BACK HOME…SO THE THINGS HE SENT WERE HUMBLE.” ACCORDING TO THE SERVICE PAY BOOKS OF JOHN W. FROUWS HELD IN THE GALT ARCHIVES [20191038011], STAFF SERGEANT FROUWS [M-35922] ATTESTED WITH THE CANADIAN FORCES ON JUNE 3, 1941. THE WAR DIARY OF THE 10TH CANADIAN FIELD PARK COMPANY, ROYAL CANADIAN ENGINEERS, HELD IN THE GALT ARCHIVES [20191038023] DETAILS THE ACTIONS OF ST. SGT. FROUWS AND HIS COMPANY. AT CAMP PETAWAWA, ONTARIO IN 1942, THE 10TH CANADIAN FIELD PARK COMPANY TOOK ON MEMBERS OF THE 2ND CORPS. FIELD PARK COMPANY, R.C.E., AND ON JULY 22ND, 1942 THE UNIT WAS CHANGED TO THE 2ND CORPS. FIELD PARK COMPANY, R.C.E. ON AUGUST 14TH, 1943, THE NEW WAR ESTABLISHMENT CREATED AN ELECTRICAL AND MECHANICAL UNIT WITHIN THE FIELD PARK COMPANY. AN ENTRY FROM MARCH 1, 1943 RECORDS FROUWS AS BEING PROMOTED FROM L.CPL. TO A.CPL. AT CAMP PETAWAWA, ONTARIO. FROUWS WAS FURTHER PROMOTED TO L.SGT. ON JUNE 24, 1943 AT ALDERSHOT, NOVA SCOTIA, TO A.SGT. ON JULY 26, 1943, AND TO S.SGT. ON SEPTEMBER 29, 1943 AT MICKLEHAM, SURREY, ENGLAND. THE 2ND CORPS. FIELD PARK COMPANY MOVED FROM CAMP PETAWAWA, ONTARIO TO HALIFAX, NOVA SCOTIA BEFORE PROCEEDING TO ENGLAND IN AUGUST 1943. THE UNIT SAILED FROM ENGLAND TO JUNO BEACH, NORMANDY IN TWO PARTS ON JULY 11, 1944. ON JULY 14, 1944, S.SGT. FROUWS WAS LISTED AS ACCOMPANYING L.CPL. TRETHEWAY IN “DE-BOOBY-TRAPPING” THE TELEPHONE EXCHANGE IN CAEN, FRANCE. THE COMPANY PROCEEDED THROUGH HOLLAND AND BELGIUM IN 1944 AND 1945, STATIONING AT NIJMEGEN, HOLLAND ON SEPTEMBER 22, 1944, BOURG LEOPOLD, BELGIUM ON SEPTEMBER 29, 1944, WEMMEL, BELGIUM ON OCTOBER 2, 1944, KESSEL, BELGIUM ON OCTOBER 10, 1944, AND TILBURG, HOLLAND BY NOVEMBER 1944. THE COMPANY REMAINED IN HOLLAND UNTIL APRIL 19, 1945, WHEN IT MOVED TO NORDHORN, GERMANY AND REMAINED THROUGH VE DAY ON MAY 9, 1945. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF THE LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190010001-GA.
Catalogue Number
P20190010003
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Other Name
POP SOCKET
Date Range From
2014
Date Range To
2019
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P20190020018
  2 images  
Material Type
Artifact
Other Name
POP SOCKET
Date Range From
2014
Date Range To
2019
Materials
PLASTIC, PAPER
No. Pieces
1
Length
12
Width
7.6
Description
POPPER SOCKET BACK IN UNOPENED PLASTIC PACKAGING; ROUND SOCKET INSIDE PACKAGING IS WHITE WITH LETHBRIDGE PRIDE FEST 2014-2019 LOGO. LOGO DEPICTS A RED HEART WITH ORANGE AND BLUE BANNER RUNNING HORIZONTALLY ACROSS; WHITE TEXT ON THE BANNER READS, “LETHBRIDGE PRIDE FEST”. A WHITE PAPER INSERT INSIDE PACKAGING SHOWS INSTRUCTIONS FOR ATTACHING SOCKET TO A PHONE, WITH GREY, WHITE, AND ORANGE VISUALS. PLASTIC PACKAGING IS UNOPENED; OVERALL EXCELLENT CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
COMMEMORATIVE
LEISURE
History
ON JULY 25, 2019, GALT MUSEUM CURATOR AIMEE BENOIT AND COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELISABETH HEGERAT REGARDING HER DONATION OF PRIDE MATERIALS. ON THE CELLPHONE POP SOCKET, HEGERAT NOTED, “EIGHTEEN IS THE PREVIOUS PRIDE FEST LOGO ON A POP-SOCKET FOR USING WITH YOUR PHONE. THAT WAS JUST MERCHANDISE WE HAD FOR SALE AS A FUND RAISER.” “[IT WAS A] FUNDRAISER/STEALTH COMMUNITY ENGAGEMENT I GUESS. THE FIRST YEAR WE HAD THE WHOLE SELECTION [OF BUTTONS AND MERCHANDISE] A COUPLE OF OTHER PEOPLE AND I DRAGGED THEM OUT TO ALMOST EVERY PRIDE FEST EVENT WHERE IT IS CONDUCIVE TO SELL MERCHANDISE AND SET THEM UP.” “WE [MADE FIVE HUNDRED DOLLARS FROM BUTTON SALES] THE FIRST YEAR…I THINK THAT WAS ALL IN. JUST ME COUNTING THE CASH AT THE END OF THE NIGHT, NOT COUNTING THE SUPPLIES. [THE PROFIT] GOES TOWARDS ALL THE VARIOUS PROGRAMS PRIDE FEST OFFERS. SOME OF IT MIGHT GO TOWARDS BUYING MERCHANDISE FOR NEXT YEAR, BUT WE DON’T PUT THE BUTTON MONEY STRAIGHT BACK INTO MAKING BUTTONS. IT ALL GOES INTO A GENERAL REVENUE.” IN AN INTERVIEW WITH HEGERAT FROM JULY 25, 2019, HEGERAT RECALLED HER TIME WORKING WITH THE LETHBRIDGE PRIDE FEST SOCIETY, NOTING, “I THINK IT WAS 2016 THAT I FIRST STARTED VOLUNTEERING WITH THE PRIDE BOARD…WHEN WE MOVED HERE IN 2006…PRIDE IN THE PARK DIDN’T EXIST, OR THE PARADE, OR ANYTHING ELSE. THERE WAS A BARBECUE, AND WE NEVER REALLY WENT TO IT, BECAUSE WE DIDN’T KNOW ANYBODY…WE KNEW WE COULD SHOW UP AND PEOPLE WOULD BE GLAD WE WERE THERE, AND EVERYTHING ELSE, BUT IT STILL KIND OF FELT LIKE WE WOULD HAVE BEEN CRASHING SOMEBODY’S FAMILY BARBECUE, BECAUSE WE DIDN’T KNOW ANYONE.” “WHEN PRIDE IN THE PARK STARTED, I KNOW THERE WERE A COUPLE OF YEARS WHERE WE WANDERED OVER AND CHECKED IT OUT, AND EVERYTHING ELSE, BUT [I] DIDN’T REALLY KNOW ANYBODY. WHEN, I THINK IT WAS 2015, [ONE OF THE PRIDE IN THE PARK PROGRAMS] WAS THEY HAD AN AUTHOR FROM CALGARY, A POET, COME AND DO A READING…WE WENT, AND WE LISTENED TO HER READ, AND I KNOW THE PEOPLE AT THE U OF L BOOKSTORE QUITE WELL THROUGH DOING LIBRARY STUFF, AND SO WAS HANGING OUT WITH BECKY COLBECK, AND KARI TANAKA, AND ONE OF THEIR BOOKSTORE STAFF, NICK ANTSON—HE AND HIS HUSBAND, DERRICK, WERE ON THE PRIDE BOARD. SO I ENDED UP TALKING WITH THEM, AND THEN STARTED THINKING…“MAYBE WE SHOULD DO SOMETHING AT THE LIBRARY NEXT YEAR.” AND THAT, AND SORT OF A FEW OTHER COMMITMENTS WITH WORK, AND A PUSH FROM THE LIBRARY TO GET MORE INVOLVED…IN THE COMMUNITY…I SHOWED UP FOR THE FIRST PRIDE FEST BOARD MEETING, AND JUST KEPT SHOWING UP…AT THE BEGINNING OF THE YEAR IN, I THINK THE MEETING WOULD HAVE BEEN LIKE OCTOBER, 2015, BUT IT WAS FOR THE 2016 PRIDE. SO, I HAVE BEEN INVOLVED AS A VOLUNTEER SINCE THEN, AND HAVE DONE SOME WORK LIAISING BACK AND FORTH BETWEEN PRIDE FEST AND THE LIBRARY FOR PARTNER PROGRAMS…FOR 2019 PRIDE, I’M FINISHING MY FIRST TERM AS AN ELECTED BOARD MEMBER.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENENT FILE P20190020001-GA.
Catalogue Number
P20190020018
Acquisition Date
2019-07
Collection
Museum
Images
Less detail
Other Name
KNIT LEAVES
Material Type
Artifact
Materials
WOOL, PLASTIC
Catalogue Number
P20190020043
  1 image  
Material Type
Artifact
Other Name
KNIT LEAVES
Date
2017
Materials
WOOL, PLASTIC
No. Pieces
3
Length
130.5
Width
10.1
Description
A. KNIT LEAVES HANGING ART, 130.5CM L X 10.1CM W; STRAND HAS SEVEN MULTICOLOUR AND OMBRE RED, ORANGE, YELLOWS, GREEN, BLUE, AND PURPLE LEAVES; BOTTOM OF STRAD HAS ORANGE FLOWER TIED ON. LOWEST LEAF ON STRAND HAS THREE BUTTONS OF RED, BLACK, AND ORANGE PLASTIC. LEAVES ARE ALL TIED TOGETHER; EDGES OF LEAVES CURL IN; OVERALL EXCELLENT CONDITION. CROCHET OR KNIT?] LEAVES B. KNIT LEAF FOR HANGING STRAND, 15.1CM L X 10CM W; LEAF IS COMPRISED OF BLUE AND GREEN OMBRE YARN. LEAF IS TIED AT TOP; OVERALL EXCELLENT CONDITION. C. KNIT LEAF FOR HANGING STRAND, 13.5 L X 7.8 W; LEAF IS COMPRISED OF BRIGHT GREEN YARN. LEAF IS TIED AT TOP; OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
DECORATIVE ARTS
COMMEMORATIVE
History
ON JULY 25, 2019, GALT MUSEUM CURATOR AIMEE BENOIT AND COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELISABETH HEGERAT REGARDING HER DONATION OF PRIDE MATERIALS. ON THE HANGING LEAF ART, HEGERAT NOTED, “THE KNIT PIECES WERE PART OF A WINTER DISPLAY AT SHANNON PHILLIPS OFFICE, AS PART OF PRIDE FESTS DOWN TOWN BUSINESS DECORATING CONTEST IN 2017. ONE OF THE ASSISTANTS IN SHANNON’S OFFICE, NATASHA FAIRWEATHER, IS ALSO A CROCHETER AND SHE HAD BEEN INVOLVED WITH A PUBLIC YARN BOMBING PROJECT DOWN AT THE PUBLIC LIBRARY THE YEAR BEFORE FOR THE WORD ON THE STREET FESTIVAL. THEY DECIDED THEY WOULD ASK PEOPLE IN THE COMMUNITY TO CONTRIBUTE KNITTING/CROCHET LEAVES, FLOWERS AND OTHER THINGS TO DO A RAINBOW DISPLAY FOR THEIR WINTER DISPLAY (WHICH IS HOW SHE GOT IN TOUCH WITH ME). THERE WAS A LOVELY LITTLE WRITE UP, WHICH I THINK I INCLUDED, ABOUT COLLABORATIVE COMMUNITY EFFORT AND MANY SMALL THINGS TOGETHER ADDING UP TO A LARGER WHOLE, WHICH WAS THE THEME OF THE WHOLE PIECE. I WAS ONE OF THE PEOPLE SHE ASKED TO CONTRIBUTE. I KNIT A WHOLE BUNCH OF LEAVES…NOT ALL THE PIECES HAVE MADE IT HERE, BUT SOME OF THE LEAVES I KNIT ARE HERE…WHEN NATASHA MOVED AWAY TO VANCOUVER EARLIER THIS YEAR, SHE ASKED IF I WANTED TO TAKE OVER THE LEFTOVERS BECAUSE SHE KNEW I WOULD FIND SOMETHING TO DO WITH THEM, AND HERE THEY ARE.” “PRIDE FEST FOR A NUMBER OF YEARS HAS RUN A BUSINESS WINDOW DECORATING COMPETITION DURING PRIDE MONTH. I THINK THE RESULTS FROM PREVIOUS YEARS ARE ON THE PRIDE FEST WEBSITE RIGHT NOW. I KNOW IT WAS RUNNING FOR AT LEAST THREE OF FOUR YEARS. IT DIDN’T HAPPEN [IN 2018] BUT IT MIGHT HAPPEN AGAIN THIS YEAR [IN 2019]. A LOT OF THE DOWNTOWN BUSINESSES PARTICIPATE AND THERE HAS BEEN ONE OR TWO—I THINK IT WAS BUBBLES CAR WASH—THAT ARE OUTSIDE OF THE DOWNTOWN CORE THAT ALSO DID SOMETHING AS WELL.” “I THINK [THE KNIT AND CROCHET PROJECT] WAS JUST AN INVITE ONLY, PEOPLE THAT NATASHA KNOW COULD PARTICIPATE. PROBABLY NOT ANY EXCLUSIVITY REASON, BUT JUST FOR THE SAKE OF EASILY MANAGING THE PROJECT…I DECIDED TO TAKE PART BECAUSE I SUPPORTED THE POLITICIAN WHO WAS DOING IT AND BEING A KNITTER, I THOUGHT IT WAS NEAT THAT [PRIDE] WAS [THE] THEME THAT THEY CHOSE. I ALSO HAD BUNCH OF LEFT-OVER SCRAP YARN IN VARIOUS COLORS THAT I COULD USE UP IF I DID THIS, AND I HAD A PATTERN WHICH I COULD WHIP STUFF UP REALLY QUICKLY.” “[I CHOSE LEAVES] PARTLY BECAUSE I FOUND A PATTERN THAT I LIKED THAT LOOK OKAY, AND THAT I COULD DO RELATIVELY QUICKLY, AND PARTLY BECAUSE IT FIT THE THEME NATASHA ASKED FOR. HONESTLY, ALL THE FLOWER PATTERNS I FOUND WERE TOO FINICKY AND DIDN’T LOOK THAT GREAT. IT WAS MOSTLY THE AESTHETICS…I THINK THERE WERE ABOUT EIGHT OR NINE [PEOPLE WHO CONTRIBUTED]. THERE WERE A BUNCH OF US AROUND THE TABLE WHEN IT CAME TO STARTING TO PUT STUFF TOGETHER, AND I KNOW A FEW PEOPLE JUST DROPPED STUFF OFF…I THINK MOST PEOPLE DID THEIR STUFF INDIVIDUALLY, ALTHOUGH I THINK THERE WAS ONE EVENING WHERE WE DID GET TOGETHER AT THE TENTH AT SHANNON’S OFFICE, BUT I COULD BE GETTING IT MIXED UP WITH WHEN WE PUT THINGS UP.” “[OUR GROUP] DID NOT WIN THE PRIZE. SOMEBODY ELSE WON…I THINK IT WAS ONCE UPON A BRIDE THAT YEAR. AND IF I AM REMEMBERING RIGHT, THEY DID A GORGEOUS, VERY ELABORATE DISPLAY WITH RAINBOW PATTERNS BEHIND THE WEDDING DRESSES, MADE WITH STRING PULLED INTO STRAIGHT LINES AND TRIANGLES. HOWEVER, I THOUGHT THAT THE THEME FOR THIS ONE SHOULD HAVE BEEN “GIVE THEM MORE WEIGHT WE SHOULD HAVE WON.” THERE WERE A LOT OF COOL ENTRIES, I AM NOT BITTER.” IN AN INTERVIEW WITH HEGERAT FROM JULY 25, 2019, HEGERAT RECALLED HER TIME WORKING WITH THE LETHBRIDGE PRIDE FEST SOCIETY, NOTING, “I THINK IT WAS 2016 THAT I FIRST STARTED VOLUNTEERING WITH THE PRIDE BOARD…WHEN WE MOVED HERE IN 2006…PRIDE IN THE PARK DIDN’T EXIST, OR THE PARADE, OR ANYTHING ELSE. THERE WAS A BARBECUE, AND WE NEVER REALLY WENT TO IT, BECAUSE WE DIDN’T KNOW ANYBODY…WE KNEW WE COULD SHOW UP AND PEOPLE WOULD BE GLAD WE WERE THERE, AND EVERYTHING ELSE, BUT IT STILL KIND OF FELT LIKE WE WOULD HAVE BEEN CRASHING SOMEBODY’S FAMILY BARBECUE, BECAUSE WE DIDN’T KNOW ANYONE.” “WHEN PRIDE IN THE PARK STARTED, I KNOW THERE WERE A COUPLE OF YEARS WHERE WE WANDERED OVER AND CHECKED IT OUT, AND EVERYTHING ELSE, BUT [I] DIDN’T REALLY KNOW ANYBODY. WHEN, I THINK IT WAS 2015, [ONE OF THE PRIDE IN THE PARK PROGRAMS] WAS THEY HAD AN AUTHOR FROM CALGARY, A POET, COME AND DO A READING…WE WENT, AND WE LISTENED TO HER READ, AND I KNOW THE PEOPLE AT THE U OF L BOOKSTORE QUITE WELL THROUGH DOING LIBRARY STUFF, AND SO WAS HANGING OUT WITH BECKY COLBECK, AND KARI TANAKA, AND ONE OF THEIR BOOKSTORE STAFF, NICK ANTSON—HE AND HIS HUSBAND, DERRICK, WERE ON THE PRIDE BOARD. SO I ENDED UP TALKING WITH THEM, AND THEN STARTED THINKING…“MAYBE WE SHOULD DO SOMETHING AT THE LIBRARY NEXT YEAR.” AND THAT, AND SORT OF A FEW OTHER COMMITMENTS WITH WORK, AND A PUSH FROM THE LIBRARY TO GET MORE INVOLVED…IN THE COMMUNITY…I SHOWED UP FOR THE FIRST PRIDE FEST BOARD MEETING, AND JUST KEPT SHOWING UP…AT THE BEGINNING OF THE YEAR IN, I THINK THE MEETING WOULD HAVE BEEN LIKE OCTOBER, 2015, BUT IT WAS FOR THE 2016 PRIDE. SO, I HAVE BEEN INVOLVED AS A VOLUNTEER SINCE THEN, AND HAVE DONE SOME WORK LIAISING BACK AND FORTH BETWEEN PRIDE FEST AND THE LIBRARY FOR PARTNER PROGRAMS…FOR 2019 PRIDE, I’M FINISHING MY FIRST TERM AS AN ELECTED BOARD MEMBER.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENENT FILE P20190020001-GA.
Catalogue Number
P20190020043
Acquisition Date
2019-07
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
FELT, WOOD, PAINT
Catalogue Number
P20170023002
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
FELT, WOOD, PAINT
No. Pieces
1
Length
37
Width
30
Description
RED FELT BANNER WITH TOP FORMING A STITCHED LOOP FIXED TO WOODEN ROD. BANNER IS FRINGED AT THE BOTTOM AND FRONT HAS RED AND BLACK PAINTED SCENE DEPICTING FORT MACLEOD, TEEPEES, AND MOUNTAINS WITH TEXT “ORIGINAL HOME OF THE MOUNTIES, FORT MACLEOD”. BACK HAS WHITE PAPER LABEL ATTACHED WITH BLACK FADED TEXT “JUNIOR FOREST WARDENS & [ILLEGIBLE], FORT MACLEOD, ALBERTA, CANADA”. FRONT AND BACK ARE CREASED, AND FRONT HAS STAIN AT TOP BELOW ROD; OVERALL VERY GOOD CONDITION.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
DECORATIVE ARTS
SAFETY SERVICES
History
ON JULY 21, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLENN AND JOANNE ALLEN REGARDING THEIR DONATION OF RCMP AND LETHBRIDGE MEMORABILIA. GLENN ALLEN WAS RAISED IN LETHBRIDGE, AND COLLECTED THE OBJECTS AS A CHILD IN LETHBRIDGE. ON THE RCMP FIGURINE, ALLEN RECALLED, “THESE TWO MOUNTED POLICE ITEMS, THE BANNER AND THE LITTLE STATUETTE…I WAS YOUNG, IN THE [HOMEFRONT] PERIOD FROM 1940-1945. LETHBRIDGE WAS A MAJOR BASE FOR THE COMMONWEALTH AIR TRAINING THING. WE HAD YOUNG BRITISH AIRMEN COME, AND THEY LIVED EVERYWHERE. THEY BOARDED WITH PEOPLE; THEY STAYED ON BASE, BUT WHEN THEY HAD A DAY OFF, IT WAS ONE OF THE RESPONSIBILITIES OF THE PEOPLE OF LETHBRIDGE TO TAKE THEM ON LITTLE JOURNEYS TO PLACES. I CAN REMEMBER GOING WITH THEM…TO FORT MACLEOD, AND THEN TO PINCHER CREEK, AND WE HAD PLUMS AND CHERRIES. I CAN REMEMBER MY MOTHER BRINGING THIS BAG OF FRUIT OUT, AND SAYING TO THE ONE YOUNG FELLOW, “WOULD YOU LIKE A PIECE OF FRUIT?” HE WAS SITTING IN THE FRONT SEAT, TURNED TO MY MOTHER [WHO] WAS DRIVING THE CAR, [THEN] HE TURNED TO HIS BUDDIES IN THE BACKSEAT, AND HE [SAID], “WOULD YOU LIKE A PLUM OR A CHERRY?” WE VISITED THERE, AND THOSE WERE GIFTS FROM THOSE AIRMEN TO ME, AT THAT TIME. I HAD A LITTLE MANTLE IN MY ROOM, DOWNSTAIRS IN CALGARY, AND HAD THEM THERE. WHEN WE WERE IN LETHBRIDGE, WE HAD NO SPACE AT ALL FOR ANYTHING. OUR FURNITURE HAD TO BE ALL STORED. THE ONLY POSSESSIONS OF OURS THAT WERE IN THAT HOUSE WERE OUR BEDS AND OUR DRESSERS, MAYBE A COUPLE OF CHAIRS…” “[I DISPLAYED THEM] MORE IN CALGARY, THAN LETHBRIDGE.” ALLEN ELABORATED ON HIS FAMILY’S HISTORY IN LETHBRIDGE, NOTING, “MY MOTHER’S FAMILY CAME TO LETHBRIDGE IN 1923, AND SHE WAS ABOUT 12 AT THE TIME. SHE DIDN’T GO TO SCHOOL ANY FURTHER AT THAT POINT IN TIME, AND SHE WAS HIRED ON AS A HOUSE GIRL FOR THE STOLZ FAMILY.” “MY DAD’S NAME WAS TOM, THOMAS SPENCE ALLEN, AND MY MOTHER WAS DOROTHY EMMA SCHIELS. MY DAD’S FAMILY - HIS FATHER AND, A FEW YEARS LATER MY DAD AND HIS MOTHER - CAME TO LETHBRIDGE IN 1910, AND THEY SETTLED IN NORTH LETHBRIDGE, AT 707 12A ST. NORTH. THERE WERE THREE BOYS AND ONE GIRL. THEY ALL WENT THROUGH HIGH SCHOOL AT GALBRAITH HIGH SCHOOL, AND MY DAD WORKED FOR THE RAILWAYS. HE STARTED AS A MESSENGER…HE WAS 15 YEARS OF AGE. HE PROGRESSED IN THE FREIGHT CPR BUSINESS, AND BECAME A FREIGHT INSPECTOR IN LETHBRIDGE, AND THEN, IN 1948, WAS TRANSFERRED TO CALGARY. MY MOTHER WAS ALWAYS A HOUSEWIFE. THEY LIVED ON 3RD AVENUE NORTH, BY THE LEALTA THEATRE. THEY HAD JUST ONE CHILD. I GREW UP [IN THAT HOUSE] UNTIL I WAS ABOUT AGE FIVE. AT THAT TIME, THE END OF THE WAR WAS COMING, AND SOLDIERS WERE RETURNING. RENTAL HOUSING BECAME ALMOST NOT AVAILABLE. ANYBODY WHO WAS RENTING AT THAT TIME, IF YOU HADN’T BEEN IN THE FORCES, YOU WERE REQUIRED BY ORDINANCE TO FIND ANOTHER PLACE. IT WAS A HOUSE WHICH WE HAD TO GIVE UP. WE’D BEEN THERE SINCE I WAS BORN. THEN WE MOVED OVER TO 12TH STREET C, THE 500 BLOCK. WE LIVED TEMPORARILY THERE, AND THEN THAT HOUSE WAS SECONDED. WE WERE ONLY THERE MAYBE 6 MONTHS, AND THEN WE MOVED INTO AN ATTIC SPACE AT 507 12TH STREET A NORTH, AND LIVED IN THE 2 ROOMS IN THE ATTIC - NO INSULATION, AND VERY COLD IN THE WINTER, AND HOT IN THE SUMMER.” “[MY FATHER] GOT A PROMOTION [IN 1948]. HE GOT A PROMOTION TO CALGARY…A BETTER JOB.” “MY MOTHER AND DAD LIVED IN LETHBRIDGE, GREW UP IN LETHBRIDGE. MY MOTHER WAS THE COLLECTOR IN THE FAMILY. WHEN I WAS MARRIED [IN 1962], ALL OF THESE THINGS SHE GAVE ME TO JUST TAKE ALONG, BECAUSE THEY HAD BEEN GIVEN TO ME. THEY ARE JUST LITTLE ITEMS THAT WE JUST DON’T KNOW WHETHER THEY HAVE ANY VALUE, AND RATHER THAN HAVE THEM JUST GO TO LAND FILL, WE’D LIKE YOU TO HAVE A LOOK AT THEM.” “TODAY IS OUR FIFTY-FIFTH WEDDING ANNIVERSARY, AND WE’RE RETURNING TO LETHBRIDGE BECAUSE WE’VE HAD THESE THINGS IN OUR POSSESSION FOREVER, AND WE WANT TO SEE IF THEY HAVE ANY VALUE TO THE MUSEUM. THEY ARE RELICS THAT WE’VE [GATHERED] FROM PAST YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170023001-GA.
Catalogue Number
P20170023002
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
FELT, PAINT, COTTON
Catalogue Number
P20170023003
  2 images  
Material Type
Artifact
Date
1935
Materials
FELT, PAINT, COTTON
No. Pieces
1
Length
79.3
Width
19.2
Description
GREEN FELT PENNANT WITH BROWN TRIM AT FRONT AND TWO SETS OF BLACK DOUBLE-STRAND TIES FOR SECURING PENNANT. PENNANT HAS WHITE PAINTED TEXT ON FRONT “LETHBRIDGE GOLDEN JUBILEE CELEBRATION, 1885 TO 1935”. PENNANT IS CREASED ACROSS FRONT AND BACK, AND TEXT ON FRONT IS DISCOLOURED AND YELLOWED; OVERALL VERY GOOD CONDITION.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
COMMEMORATIVE
DECORATIVE ARTS
History
ON JULY 21, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLENN AND JOANNE ALLEN REGARDING THEIR DONATION OF RCMP AND LETHBRIDGE MEMORABILIA. GLENN ALLEN WAS RAISED IN LETHBRIDGE, AND COLLECTED THE OBJECTS AS A CHILD IN LETHBRIDGE. ON THE LETHBRIDGE JUBILEE PENNANT, ALLEN RECALLED, “PENNANTS WERE REALLY POPULAR IN THOSE DAYS. [MY FAMILY] LOVED PENNANTS, AND, IN MY ROOM, AS A CHILD, I HAD [IT] PINNED TO THE WALL.” “THAT [PENNANT] RELATES BACK TO [MY PARENTS’] MARRIAGE… THE PENNANT WAS THE YEAR THEY WERE MARRIED.” “[IT] WOULD HAVE BEEN POSTED ON MY WALL IN CALGARY. THEN IT WENT INTO A BOX WITH THE OTHER PENNANTS. I LIKELY HAD THOSE BEFORE I WAS ADOLESCENT IN AGE, AND THEN WHEN ADOLESCENCE CAME ALONG, THERE WERE OTHER THINGS THAT INTERESTED ME, AND THOSE PENNANTS WENT.” “PENNANTS…SHOWED THAT YOU HAD BEEN SOME PLACE. MY DAD BEING WITH THE RAILWAY, WE WENT BY RAIL TO VANCOUVER, FROM THE TIME I WAS ABOUT 3 ON. IF YOU STOPPED IN BANFF, YOU HOPPED OUT AND YOU GOT ONE OF THESE, AND YOU DID AT LAKE LOUISE, AND YOU DID AT REVELSTOKE, AND THEY WENT TO SEATTLE. THEY BROUGHT ME [PENNANTS].” “THEY WERE KIND OF ‘THE THING’, SO THEY BROUGHT THOSE BACK TO ME. I HAD DOZENS OF THEM.” ALLEN ELABORATED ON HIS FAMILY’S HISTORY IN LETHBRIDGE, NOTING, “MY MOTHER’S FAMILY CAME TO LETHBRIDGE IN 1923, AND SHE WAS ABOUT 12 AT THE TIME. SHE DIDN’T GO TO SCHOOL ANY FURTHER AT THAT POINT IN TIME, AND SHE WAS HIRED ON AS A HOUSE GIRL FOR THE STOLZ FAMILY.” “MY DAD’S NAME WAS TOM, THOMAS SPENCE ALLEN, AND MY MOTHER WAS DOROTHY EMMA SCHIELS. MY DAD’S FAMILY - HIS FATHER AND, A FEW YEARS LATER MY DAD AND HIS MOTHER - CAME TO LETHBRIDGE IN 1910, AND THEY SETTLED IN NORTH LETHBRIDGE, AT 707 12A ST. NORTH. THERE WERE THREE BOYS AND ONE GIRL. THEY ALL WENT THROUGH HIGH SCHOOL AT GALBRAITH HIGH SCHOOL, AND MY DAD WORKED FOR THE RAILWAYS. HE STARTED AS A MESSENGER…HE WAS 15 YEARS OF AGE. HE PROGRESSED IN THE FREIGHT CPR BUSINESS, AND BECAME A FREIGHT INSPECTOR IN LETHBRIDGE, AND THEN, IN 1948, WAS TRANSFERRED TO CALGARY. MY MOTHER WAS ALWAYS A HOUSEWIFE. THEY LIVED ON 3RD AVENUE NORTH, BY THE LEALTA THEATRE. THEY HAD JUST ONE CHILD. I GREW UP [IN THAT HOUSE] UNTIL I WAS ABOUT AGE FIVE. AT THAT TIME, THE END OF THE WAR WAS COMING, AND SOLDIERS WERE RETURNING. RENTAL HOUSING BECAME ALMOST NOT AVAILABLE. ANYBODY WHO WAS RENTING AT THAT TIME, IF YOU HADN’T BEEN IN THE FORCES, YOU WERE REQUIRED BY ORDINANCE TO FIND ANOTHER PLACE. IT WAS A HOUSE WHICH WE HAD TO GIVE UP. WE’D BEEN THERE SINCE I WAS BORN. THEN WE MOVED OVER TO 12TH STREET C, THE 500 BLOCK. WE LIVED TEMPORARILY THERE, AND THEN THAT HOUSE WAS SECONDED. WE WERE ONLY THERE MAYBE 6 MONTHS, AND THEN WE MOVED INTO AN ATTIC SPACE AT 507 12TH STREET A NORTH, AND LIVED IN THE 2 ROOMS IN THE ATTIC - NO INSULATION, AND VERY COLD IN THE WINTER, AND HOT IN THE SUMMER.” “[MY FATHER] GOT A PROMOTION [IN 1948]. HE GOT A PROMOTION TO CALGARY…A BETTER JOB.” “MY MOTHER AND DAD LIVED IN LETHBRIDGE, GREW UP IN LETHBRIDGE. MY MOTHER WAS THE COLLECTOR IN THE FAMILY. WHEN I WAS MARRIED [IN 1962], ALL OF THESE THINGS SHE GAVE ME TO JUST TAKE ALONG, BECAUSE THEY HAD BEEN GIVEN TO ME. THEY ARE JUST LITTLE ITEMS THAT WE JUST DON’T KNOW WHETHER THEY HAVE ANY VALUE, AND RATHER THAN HAVE THEM JUST GO TO LAND FILL, WE’D LIKE YOU TO HAVE A LOOK AT THEM.” “TODAY IS OUR FIFTY-FIFTH WEDDING ANNIVERSARY, AND WE’RE RETURNING TO LETHBRIDGE BECAUSE WE’VE HAD THESE THINGS IN OUR POSSESSION FOREVER, AND WE WANT TO SEE IF THEY HAVE ANY VALUE TO THE MUSEUM. THEY ARE RELICS THAT WE’VE [GATHERED] FROM PAST YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170023001-GA.
Catalogue Number
P20170023003
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Other Name
TRANSFER PATTERN
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20170022000
  2 images  
Material Type
Artifact
Other Name
TRANSFER PATTERN
Date Range From
1940
Date Range To
1950
Materials
PAPER, INK
No. Pieces
2
Length
43
Width
71.3
Description
A.WHITE ENVELOPE, 11.6CM LONG X 20CM WIDE; ENVELOPE PRINTED WITH BLACK IMAGE OF A WOMAN EMBROIDERING BESIDE TABLE AND LAMP AND BLACK TEXT “THE HERALD, HOUSEHOLD ARTS DEPT., LETHBRIDGE, ALBERTA, RETURN POSTAGE GUARANTEED, ALICE BROOKS DESIGN, YOU HAVE ORDERED TWO OR MORE PATTERNS, PLEASE BE ADVISED THAT THEY MAY [WORD TORN] ARRIVE AT THE SAME TIME BECAUSE [WORD TORN] ARE MAILED IN SEPARATE ENVELOPES”. FRONT OF ENVELOPE HAS WHITE LABEL WITH PRINTED TYPED BLACK TEXT “LH DEC. 3/47, MRS. OLE HUSTAD, 336 TALISMAN AVE., VANCOUVER, B.C., 7457”. FRONT OF ENVELOPE HAS BLACK HANDWRITTEN TEXT “EMBROIDERY” AND RED POSTAL SEAL “TORONTO, ONTARIO, DEC. 5, 1947”. BACK OF ENVELOPE HAS BROWN LONG STAIN ON LEFT SIDE; ENVELOPE IS TORN OPEN AT FRONT LEFT SIDE; ENVELOPE IS CREASED ALONG TOP AND RIGHT EDGES. OVERALL GOOD CONDITION. B. TRANSFER PATTERN PRINTED IN DARK GREEN ON PAPER, 43CM LONG X 71.3CM WIDE. PAPER IS FOLDED INTO FOUR SECTIONS LENGTH-WAYS AND WIDTH-WAYS; FIRST SECTION HAS PRINTED BLUE TEXT “ALICE BROOKS DESIGNS, T.M. REG. U.S. PAT. OFF., TRANSFER PATTERN, NO. 7457” AND TEXT WITH INSTRUCTIONS “MATERIAL REQUIREMENTS”, “PLACING MOTIFS”, “TRANSFERRING PATTERN”, “EMBROIDERY”, “COLOR SUGGESTIONS”, AND IMAGES OF FIVE TYPES OF STITCHES. PATTERN IS PRINTED OF: A PUPPY IN A CORNER WITH DARK FOOTPRINTS LEADING TO PUPPY; A PUPPY IN A WASHBIN WITH KETTLE POURING WATER ON IT; A CHICK CHASING A PUPPY; A PUPPY HIDING FROM A CHICK BEHIND A DOGHOUSE LABELLED WITH REVERSED TEXT “BEWARE!”, A PUPPY WITH A BONE IN GRASS LOOKING AT BUTTERFLY; A PUPPY OUTSIDE A WASHBIN WITH KETTLE AND SCRUB BRUSH, AND DARK FOOTPRINTS; A CHICK WITH LABELLED WITH REVERSED TEXT “TRIAL”. BOTTOM RIGHT CORNER HAS REVERSED NUMBERS “7457”. PAPER IS YELLOWED AND TORN IN CENTER; PAPER IS CREASED FROM FOLDS INTO SIXTEEN SECTIONS; TOP LEFT CORNER IS CREASED ALONG EDGE; OVERALL GOOD CONDITION.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
DOMESTIC
History
ON JUNE 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED PAT DEBOER REGARDING THE DONATION OF A NEEDLEWORK TRANSFER PATTERN. THE TRANSFER PATTERN WAS SOLD TO PAT’S MOTHER, MARGARET HUSTAD, IN 1947 THROUGH THE LETHBRIDGE HERALD. WHEN ASKED ABOUT THE PATTERN AND HOW SHE CAME TO ACQUIRE IT, DEBOER ELABORATED, “MY MOTHER [MARGARET HUSTAD] NEVER THREW ANYTHING OUT…AND I DON’T THROW ANYTHING OUT. SHE HAD THIS GREAT BIG SEWING BOX PLUS A GREAT BIG BOX OF PATTERNS…WHEN SHE DIED IT JUST GOT MOVED TO MY HOUSE. I STARTED TO GO THROUGH IT AND I’VE GIVEN…A LOT OF THE PATTERNS I TO THE DRAMA DEPARTMENT IN THE UNIVERSITY BECAUSE THEY WENT BACK TO ABOUT 1945.” “THIS PATTERN…CAME FROM LETHBRIDGE, SHE ORDERED THEM THROUGH THE LETHBRIDGE HERALD…THAT’S HOW SHE COULD HAVE ORDERED THEM. [IT’S A] TRANSFER…THEY’RE LITTLE PUPPY DOGS AND A DOG HOUSE…I THINK SHE BOUGHT IT TO USE IN THINGS IN MY ROOM.” “IT’S IMPORTANT FOR PEOPLE TO UNDERSTAND THAT…WE DIDN’T HAVE MASS [PRODUCED GOODS]. MOM DIDN’T HAVE MASS PRODUCED STUFF LIKE THEY DO NOW. SHE WAS AN EXPERIENCED SEAMSTRESS AND SHE MADE ALL MY CLOTHES, SHE ALTERED ALL HER CLOTHES AND SHE HAD SO MUCH [SEWING] STUFF. I THOUGHT WELL…I DON’T THINK IT WOULD HURT TO GIVE SOME OF THIS TO THE GALT SO THAT IF YOU EVER WANT TO DO A DIORAMA…THAT EXPLAINS WHAT WIVES AND FARM WIVES AND WOMEN DID YEARS AGO.” DEBOER SPOKE TO HER MEMORIES OF HER MOTHER’S SEWING, RECALLING, “I DON’T KNOW WHERE [MY MOTHER] LEARNED HOW TO SEW, OTHER THAN I THINK WOMEN ALWAYS SEWED. IT WAS A NECESSITY, DURING THE DIRTY ‘30S WHEN PEOPLE COULDN’T GET THINGS. WOMEN WOULD COME INTO TOWN HERE, THEY WOULD SEND THEIR HUSBANDS TO ELLISON’S AND GET FLOUR SACKS. THEY WOULD MAKE TEAS TOWELS AND PILLOW SLIPS, AND IT WAS SIMPLY BECAUSE THAT WAS WHAT THEY HAD, THAT’S WHAT THEY COULD GET. MOM WAS GOOD AT IT. DURING THE ‘30S, MOM AND HER FAMILY WERE LITERALLY LIVING HAND TO MOUTH AND MOM WAS MARRIED TO A GENTLEMEN FROM BARONS FOR FOUR OR FIVE YEARS AND SHE WAS RIGHT DURING THE MIDDLE OF THE ‘30S. [SHE] AND LLOYD HAD NO MONEY, BUT PEOPLE WOULD GIVE MOTHER THINGS. THEY WOULD GIVE HER OLD DRESSES AND THEY’D GIVE HER OLD COATS, AND SHE WOULD ALTER THEM SO THAT SHE COULD WEAR THEM, OR LLOYD COULD WEAR THEM. OTHERWISE SHE WOULDN’T [HAVE] HAD ANY CLOTHES TO WEAR.” “[MY LOVE OF SEWING] COMES FROM MY MOTHER…SHE ALWAYS WAS SEWING…THE SEWING MACHINE SAT IN THE KITCHEN, RIGHT WHERE SHE COULD GET AT IT. SHE TAUGHT ME TO SEW WHEN I WAS ABOUT TWELVE MAYBE, A SINGER SEWING MACHINE AND I DID IT. I COULD’VE USED A TREADLE SEWING MACHINE TOO BECAUSE MY AUNT THAT LIVED IN VULCAN…SHE HAD A TREADLE SEWING MACHINE, SO I’D USE THAT. MY MOM TAUGHT ME TO SEW ON AN ELECTRIC SEWING MACHINE AND SHE TAUGHT ME TO MAKE MY OWN DOLL CLOTHES. THAT’S HOW IT STARTED. I HAD AN AFFINITY FOR IT. IT WAS SOMETHING I FELT I LIKE I WAS GOING TO BE GOOD AT…YOU COULD PRODUCE SOMETHING THAT SOMEBODY ELSE COULD USE OR ENJOY. WHEN MY GIRLS WERE LITTLE I MADE ALL THEIR OWN CLOTHES. I SEWED EVERYTHING.” “MY MOTHER WAS THIRTY-EIGHT WHEN I WAS BORN…I CAME LATER IN LIFE. MY DAD [MOTHER’S SECOND HUSBAND] WAS SIXTY-SEVEN WHEN I WAS BORN. I’M MY DAD’S SECOND FAMILY. MOTHER ALWAYS SEWED, SHE SEWED FOR HER[SELF], SHE HAD A SISTER WHO HAD EIGHT CHILDREN AND FOUR GIRLS AND FOUR BOYS, AND MOM SEWED FOR THEM. THEY LIVED JUST OUTSIDE OF VULCAN…THE OTHER LADIES SEWED, BUT NOT TO THE EXTENT MY MOTHER DID. MY MOTHER REALLY WAS AN EXPERT SEAMSTRESS. SOME OF THE NEIGHBOURS WOULD BRING THINGS UP TO HAVE MOTHER FIX THEM, OR [SHE WOULD] SHOW THEM HOW TO FIX THEM. MOTHER WAS ALSO VERY GOOD AT MAKING DINING ROOM AND LIVING ROOM DRAPES. THE NEIGHBOURS WOULD SHOW UP WITH THESE BOLTS OF CLOTH AND SAY, “HERE MARGARET WE NEED DRAPES”…IT WAS A BIT UNUSUAL. THE OTHER LADIES IN THE NEIGHBOURHOOD DIDN’T DO IT LIKE SHE DID…I THINK THAT WAS PART OF THE REASON WHY I TOOK TO SEWING.” “MOM A GREAT BIG KITCHEN, AND HER IRONING BOARD WAS IN THE KITCHEN AND…THE SEWING MACHINE WOULD GET MOVED OUT TO THE KITCHEN, EVERY SO OFTEN IT WOULD GET PUT AWAY…AT CHRISTMAS WHEN SHE WAS CLEANING THE HOUSE UP FOR COMPANY. IT WOULD GET PUT AWAY. MOST OF THE TIME IT WAS IN THE KITCHEN. MOM WAS SEWING AND I APPARENTLY EXPRESSED AN INTEREST, AND SO SHE SAID “OKAY IF THIS WHAT YOU’D LIKE TO DO” THEN…SHE BOUGHT PATTERNS FOR DOLL CLOTHES THAT WOULD FIT MY DOLLS AND STARTED TEACHING ME. WE’D BE IN THE KITCHEN, AND IT WAS JUST SOMETHING THAT WAS DONE, BETWEEN THE TWO OF US…IT WAS A PROGRESSION OF HER EXPERTISE AND LOVE OF DOING IT.” “I DON’T THINK SHE EVER CHARGED [FOR HER SEWING]. IT WAS THEY ASKED HER AND SHE SAID OKAY AND THAT WAS THE WAY IT WAS. I CAN NEVER REMEMBER MY MOTHER CHARGING FOR HER SEWING.” “PART OF [SEWING] WAS BONDING WITH MY MOM. I WAS AN ONLY CHILD BEING RAISED BY PARENTS WHO WERE OLD. THERE [WERE] A LOT OF TIMES WHERE I WAS BY MYSELF BECAUSE OF THE PEOPLE MOM AND DAD ASSOCIATED WITH WERE OLDER…SO [SEWING] WAS SOMETHING THAT I COULD DO THAT WOULD KEEP ME OCCUPIED…WHILE MOM AND DAD WERE VISITING…IT WAS A GENERATIONAL THING, BECAUSE MOM AND DAD WERE ESSENTIALLY A GENERATION ABOVE THE PARENTS OF ALL MY FRIENDS. I SPENT A LOT OF TIME AS A YOUNG CHILD ALONE, SO I READ OR SEWED.” “[MY PARENTS] LIVED IN VANCOUVER [AFTER RETIRING]…THEY LIVED IN VANCOUVER FROM 1945 TO 1949.” “IN 1949 THEY MOVED, THEY DIDN’T COME TO LETHBRIDGE RIGHT AWAY. I WAS RAISED IN PENTICTON. MY DAD HAD BRONCHITIS AND WHEN THEY MOVED OUT TO VANCOUVER HE FOUND THE DAMP AIR WAS TOO HARD ON HIS LUNGS. HE DIDN’T WANT TO COME BACK TO GRANUM, SO HE WENT LOOKING FOR SOME PLACE TO MOVE TO THAT WAS DRIER SO HE FOUND PENTICTON.” “IN 1961 I MARRIED A BOY FROM BARONS BY THE NAME OF RONALD DEBOER. I HAD A CHILD, AND AS I’M AN ONLY CHILD, AND DAD AND MOM DECIDED IF THEY WERE GOING TO HAVE GRANDCHILDREN, THEY WANTED TO BE CLOSE TO THEIR GRANDCHILDREN AND MOVED BACK.” “SHE KEPT SEWING. SHE MADE CLOTHES FOR HER GRANDDAUGHTER…MOM WAS ALWAYS SEWING SOMETHING. I DON’T THINK SHE MADE TOO MANY THINGS FOR ME AFTER THEY MOVED BACK TO LETHBRIDGE HERE, BUT SHE CERTAINLY DID FOR [MY DAUGHTERS]. THERE WERE SIX YEARS BETWEEN BOTH MY TWO GIRLS, MY FIRST HUSBAND WAS KILLED A YEAR AND FOUR MONTHS AFTER WE WERE MARRIED IN A FARMING ACCIDENT. I WAS SINGLE FOR TWO YEARS…THE FACT THAT MOM AND DAD WERE HERE IN LETHBRIDGE WAS MY SAVING GRACE BECAUSE I WAS OUT ON THE FARM.” “I SEWED ALL THE TIME. THE LAST FEW YEARS IS ABOUT THE ONLY TIME I HAVEN’T SEWED. THIS LAST…TEN OR FOURTEEN YEARS THAT I HAVEN’T SEWED ON A REGULAR BASIS [WAS] BECAUSE I HAD TO GO BACK TO WORK FULLTIME. BUT PREVIOUS TO THAT I SEWED ALL THE TIME. MY MACHINE WAS NEVER PUT AWAY. IT WAS DOWN IN THE BEDROOM, IT WAS JUST NEVER PUT AWAY.” “[I ALWAYS SEWED] GENERALLY SPEAKING CLOTHES. I WAS EITHER ALTERING CLOTHES…MY HUSBAND’S GOT REALLY SHORT LEGS, TWENTY-EIGHT (28) INCH LEG, YOU CAN’T GET A PANT THAT’S GOT TWENTY-EIGHT INCH LEGS, SO I WAS SHORTENING HIS JEANS. ON THE FARM YOUR WORK CLOTHES GET RIPPED AND THE SEAMS COME APART AND I DID ALL THAT.” “[I LIKED SEWING FOR] THE FACT THAT I COULD SHUT EVERYTHING ELSE OUT, AND IT WAS MY TIME. I COULD FOCUS…IF I WAS IN THE MIDDLE OF A PROJECT, YOU HAD TO KNOW WHERE THE GROCERIES WERE BECAUSE I NEVER STOPPED. [MY HUSBAND] WOULD COME IN AND SAY “YOU KNOW, IT IS SUPPER TIME”, AND I’D SAY, “YEAH, MHMM”. IT WAS A WAY FOR ME TO FOCUS, AND IT WAS MY TIME. IT WAS JUST TIME THAT WAS MINE. I WAS BEING CREATIVE, AND FELT LIKE I REALLY BEING USEFUL…IT FELT GOOD.” WHEN ASKED ABOUT HER MOTIVATION TO DONATE THE PATTERN, DEBOER NOTED, “I HAVEN’T BEEN DOING ANY SEWING FOR A LONG TIME AND I DECIDED BECAUSE I HAVEN’T DONE ANY SEWING FOR A LONG TIME MAYBE I SHOULD GET GOING AND START DOING SOME SEWING. WHEN I STARTED SEWING, I STARTED GOING THROUGH ALL THIS STUFF, AND I THOUGHT THERE’S A LOT OF OLD INTERESTING STUFF IN HERE. THIS IS JUST A VERY BRIEF SAMPLE OF WHAT I HAVE AT HOME. I THOUGHT MAYBE I SHOULD GET A HOLD OF [THE MUSEUM] AND SEE IF THEY’D LIKE SOMETHING THAT THEY COULD USE TO DEMONSTRATE AT SOME POINT IN TIME THROUGH THE MUSEUM OF WHAT WOMEN USED TO DO…WHAT THEY WERE EXPECTED TO DO.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTS, PLEASE SEE THE PERMANENT FILE P20170022000-GA.
Catalogue Number
P20170022000
Acquisition Date
2017-06
Collection
Museum
Images
Less detail
Other Name
RAWHIDE DRUM
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
HIDE, WOOD, LEATHER
Catalogue Number
P20170018003
  2 images  
Material Type
Artifact
Other Name
RAWHIDE DRUM
Date Range From
1950
Date Range To
1960
Materials
HIDE, WOOD, LEATHER
No. Pieces
2
Height
9
Diameter
34
Description
A. RAWHIDE DRUM WITH HIDE FITTED OVER ROUND WOODEN FORM; HIDE HAS LEATHER LOOPED ABOVE WOODEN FORM, WITH LEATHER STRAPS TIED INTO CENTER OF DRUM WITH CLOTH AND WIRE AT ENDS OF LEATHER STRAPS. DRUM HAS METAL NAILS THROUGH HIDE AND WOODEN FORM. DRUM HAS FOUR PUNCHED HOLES IN HIDE ALONG EDGE AT SURFACE, AND FOUR ADDITIONAL HOLES ON OPPOSITE SIDE OF DRUM. INSIDE OF DRUM HAS TWO PUNCHED HOLES AT BASE OF WOODEN FORM. HIDE IS WORN AND CRACKED ALONG WOODEN FORM; HIDE IS SEPARATING FROM LEATHER CORD ALONG WOODEN FORM; LEATHER IS STAINED AND EMBRITTLED; WOODEN FORM IS CRACKED AND SPLITTING. CLOTH IN CENTER OF DRUM HOLDING LEATHER STRANDS IS DISCOLOURED AND FRAYING. HIDE IS DISCOLOURED AND STAINED ON EDGES, SURFACE, AND INSIDE OF DRUM. OVERALL FAIR CONDITION. B. WOODEN DRUM STICK, 1.2CM WIDE X 37CM LONG. LIGHT WOOD WITH WIDER HANDLE END THAT TAPERS; WOOD VARNISHED DARKER. TAPERED END IS CHIPPED AND CRACKED. VARNISH IS PEELED AND FADED; WOOD IS CRACKED DOWN TOP END. OVERALL GOOD CONDITION.
Subjects
MUSICAL T&E
INDIGENOUS
Historical Association
LEISURE
ETHNOGRAPHIC
History
ON MAY 3, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GARY HAMILTON REGARDING HIS DONATION OF OBJECTS FROM HIS CHILDHOOD. HAMILTON WAS RAISED IN MAGRATH, ALBERTA, AND RECALLS THE OBJECTS FROM HIS CHILDHOOD IN SOUTHERN ALBERTA. ON THE RAWHIDE DRUM, HAMILTON RECALLED, “IT WAS GIVEN TO MY DAD AND I ENDED UP WITH IT. FROM WHAT I REMEMBER IT’S…AT LEAST SIXTY, SIXTY-FIVE YEARS OLD. THE STICK IS THE SAME, THERE SHOULD BE SOME CLOTH WRAPPED AROUND THE END. IT’S ORIGINAL, I THINK IT’S MADE BY A BLOOD TRIBE [MEMBER], BECAUSE I KNOW MY DAD KNEW A LOT OF THEM. I THINK IT WAS MADE BY ANDY SHADE.” “[I REMEMBER MY FATHER] GETTING IT. HE JUST SHOWED UP, ANDY WAS THERE. THEY WERE HAVING A BEER AND HE BROUGHT IT INTO HIM.” “[MY FATHER AND ANDY SHADE] WERE FRIENDS. THEY WERE FRIENDS IN MAGRATH AND IN LETHBRIDGE, THAT’S WHEN HE GOT IT…IT’S FROM MAGRATH.” “WE PLAYED WITH IT. WE’D WALK AROUND TOWN, GO UP AND DOWN THE STREET.” “[MOTHER] HAD CLOTHES FROM WHEN WE WERE LITTLE, NOT ALL THE CLOTHES BUT SOME HANGING UP. THIS WAS UP THERE. SHE HAD STORAGE ON HER WALL FULL OF TOYS, [AND] GAMES.” “IT DOES MEAN SOMETHING. IT DID MEAN SOMETHING. IT’S PART OF MY CHILDHOOD, PART OF MY GROWING UP.” HAMILTON ELABORATED ON HIS CHILDHOOD, NOTING, “WHEN I WAS GROWING UP IT WAS WAY DIFFERENT THAN IT IS NOW. IF YOU NEEDED A SPANKING YOU GOT A SPANKING…NOW YOU CAN’T TOUCH ANYBODY. THAT’S PART OF MY GROWING UP SO I WOULD IMAGINE EVERYBODY ELSE WAS DOING IT TOO. THEY DIDN’T THINK OF IT BY THEMSELVES.” “I WAS GONE ALL THE TIME. MY AUNT LIVED DOWN THE STREET AND I GUESS I WOULD GO VISIT HER, PUT MY HAT ON WHETHER I HAD CLOTHES ON OR NOT, GO VISIT HER. MY DAD WORKED A BLOCK AWAY. EVERYBODY KNEW ME. IT WASN’T A BIG TOWN, AND MY UNCLE WAS A SCHOOL TEACHER THERE, PRINCIPAL AT THE SCHOOL. I’VE GOT LOTS OF RELATIVES OUT THERE.” “THEY’D SEND ME TO SCHOOL AND I WOULDN’T GO. RECESS I’D GO PLAY WITH THE GUYS AT RECESS AND THEN I’D TAKE OFF AGAIN, I’D GO FISHING.” “MY MOTHER [CORRINE HAMILTON] NEVER THREW ANYTHING AWAY. GAMES FROM WHEN WE WERE KIDS…JACKETS, SHOES, SKATES, SHE KEPT IT.” “MY BROTHER AND MY SISTER [WENT THROUGH MY MOTHER’S THINGS WHEN SHE PASSED AWAY TEN YEARS AGO]…[MY BROTHER CALLED] HE SAID, “DO YOU WANT YOUR JACKET BACK? AT THE TIME I THOUGHT I WAS GOING TO MAKE A FRAME FOR ALL THIS STUFF AND THEN PUT IT ON MY WALL. ONE THING LED TO ANOTHER AND WE SOLD MY HOUSE, MOVED TO AN APARTMENT, [AND I] DIDN’T WANT TO DO IT.” “IT’S PART OF MY CHILDHOOD.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170018001-GA.
Catalogue Number
P20170018003
Acquisition Date
2017-05
Collection
Museum
Images
Less detail
Date Range From
1956
Date Range To
1966
Material Type
Artifact
Materials
TOBACCO, PAPER
Catalogue Number
P20160041008
  1 image  
Material Type
Artifact
Date Range From
1956
Date Range To
1966
Materials
TOBACCO, PAPER
No. Pieces
1
Length
12.8
Diameter
1.7
Description
CIGAR LABELLED “KING EDWARD” AT MOUTH. CIGAR IS BROWN, UNTREATED PAPER ROLLED. LABEL IS STICKER THAT GOES AROUND CIRCUMFERENCE OF THE CIGAR – GOLD WITH BLACK BACKGROUND AROUND WRITING – TEXT IS GOLD. WHITE BORDER. CIGAR WRAPPED IN CELLOPHANE.
Subjects
PERSONAL GEAR
Historical Association
PROFESSIONS
LEISURE
History
THE TUXEDO SET – COMPLETE WITH JACKET, PANTS, VEST, TWO BOWTIES, AND A CIGAR THAT WAS FOUND IN THE JACKET POCKET – CAME TO THE MUSEUM FROM DONORS BRUCE AND JOAN HAIG. THE TUXEDO AND THE PIECES THAT WENT ALONG WITH IT BELONGED TO BRUCE’S FATHER, DR. ARTHUR HAIG (1901-1986). BRUCE AND JOAN HAIG DONATED THE COLLECTION OF ITEMS TO THE GALT MUSEUM, WHERE COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE COUPLE ON NOVEMBER 25, 2016. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “IN 1977, WE MOVED INTO BRUCE’S PARENTS’ HOUSE,” JOAN STATED AS SHE BEGAN TO SPEAK ABOUT THE TUXEDO ENSEMBLE, “AND MOTHER, [PHYLLIS HAIG (NEE HARRISON)] HAD [THE TUXEDO] IN A BOX IN THE STOREROOM. SHE HAD IT MARKED TO GO TO THE APARTMENT [THEY LATER MOVED TO], BUT THEY NEVER TOOK IT. BRUCE’S DAD HAD HAD A SEVERE STROKE AND WAS UNABLE TO WEAR IT ANYMORE, SO SHE JUST LEFT IT. IT SAT ON THE TOP SHELF THERE UNTIL WE MOVED JUST A FEW WEEKS AGO. OUR DAUGHTER IS NOW IN THE HOUSE, AND THIS BOX WAS STILL ON THE SHELF IN THE STOREROOM, SO SHE DEPOSITED IT AT OUR HOUSE.” “[WE WERE ALWAYS AWARE OF THE ITEMS’ EXISTENCE, BECAUSE] AND IT WAS PA’S TUX.” PA BEING BRUCE’S FATHER, DR. ARTHUR HAIG, AS JOAN EXPLAINED. SHE CONTINUED, “IT’S NOT SOMETHING YOU’RE GOING TO JUST DUMP. WE DIDN’T KNOW WHAT TO DO WITH IT, SO WE JUST KEPT LOOKING AT THE BOX THAT SAID, ‘PA’S TUX,’ ON THE SIDE.” IN THE INTERVIEW, BRUCE ASKED JOAN IF HE EVER WORE HIS FATHER’S SUIT, SHE REPLIED, “NO, IT’S MILES TOO BIG FOR YOU.” THE HAIG’S BROUGHT IN A PHOTOGRAPH OF DR. HAIG WEARING THE SUIT TAKEN IN NOVEMBER 1963. BRUCE SAID, “AT ABOUT THAT TIME HE WAS HEAVILY INTO MEDICAL POLITICS. HE HAD JUST BEEN APPOINTED THE HEAD OF THE PROVINCE FOR THE CANADIAN MEDICAL ASSOCIATION, THE ALBERTA DIVISION PRESIDENT. THAT’S THE PICTURE THAT WE HAVE IN HERE. IT WAS JUST LIKE A PICTURE THAT WAS TAKEN WITH A CAMERA AT THE HOTEL BEFORE OR AFTER A DINNER-TYPE THING. WE FIGURED THAT’S [THE TIME PERIOD] WHEN HE WAS WEARING IT. HE USED TO WEAR A TUX [OFTEN]. I HAVE A PICTURE FROM BACK IN THE TWENTIES – HE GRADUATED ABOUT ’26 FROM MCGILL – AND THERE’S A PICTURE OF HIM IN A TUXEDO. IT WOULDN’T HAVE BEEN [THE ONE WE ARE DONATING], BECAUSE HE DIDN’T MOVE TO LETHBRIDGE UNTIL 1929.” EXPLAINING HER FATHER-IN-LAW’S NEED FOR SUCH ATTIRE, JOAN ADDED, “THEY DID HAVE A LOT OF FORMAL EVENTS AND FORMAL PARTIES. HOUSE PARTIES IN THOSE DAYS WERE FORMAL. WOMEN WORE LONG GOWNS, AND MEN WORE TUXES.” SOCIAL LISTINGS PUBLISHED IN THE LETHBRIDGE HERALD ACCOUNT VARIOUS ENGAGEMENTS DR. AND MRS. HAIG ATTENDED OR HOSTED TOGETHER, INCLUDING ONE PUBLISHED IN THE JUNE 18, 1957 PAPER. IT IS STATED, “DR. ARTHUR HAIG OF LETHBRIDGE, PRESIDENT ELECT OF THE ALBERTA DIVISION OF THE CANADIAN MEDICAL ASSOCIATION, AND MRS. HAIG, WILL BE AMONG THE GUESTS AT THE RECEPTION TO BE GIVEN BY THE PRESIDENT OF THE CANADIAN MEDIAL ASSOCIATION...” DURING THE 2016 INTERVIEW, BRUCE CONTINUED, “HE WAS HEAVILY INTO THE KINSMAN AND THEN ROTARY CLUB. HE JUST LOVED THOSE SERVICE CLUBS. I’M SURE HE WORE [THE TUX] MANY TIMES FOR [RELATED EVENTS].” ON MAY 4, 1936, THE LETHBRIDGE HERALD REPORTED, “DINING ROOM OF THE ASSINIBOIA HOTEL HERE WAS COMFORTABLY FILLED BY SCORES OF YOUNG BUSINESS AND PROFESSIONAL MEN RESIDENT IN THREE ALBERTA CITIES, SATURDAY NIGHT, AS THE RECENTLY ORGANIZED KINSMEN CLUB OF MEDICINE HAT WAS FORMALLY PRESENT WITH ITS CHARTER LINKING IT WITH 50 OTHER KIN CLUBS THROUGHOUT THE DOMINION. CONFERRING OF THE CHARTER WAS PERFORMED BY DR. ARTHUR HAIG OF LETHBRIDGE, KIN GOVERNOR FOR DISTRICT NO. 4.” “MEN WORE FORMAL ATTIRE,” JOAN EXPLAINED, “SO DID WOMEN TO ALL OF THEIR FUNCTIONS. [BRUCE’S FATHER] WAS QUITE A PROMINENT DOCTOR. HE WAS THE CHIEF OF SURGERY AT ST. MIKE’S, AND THEN AT THE MUNICIPAL HOSPITAL. HE WAS A BIG MAN ON CAMPUS, AND KNEW IT.” UPON EXAMINATION OF THE TUXEDO JACKET’S LABEL, IT IS NOTED THAT THE JACKET IS FROM 1956. BRUCE EXPLAINED, “[IN] 1956, I’M AT UNIVERSITY. AT U OF S, SASKATOON [DURING THE TIME]… WE DO HAVE A [HOME] MOVIE OF A PARTY IN 1940 OR ’41, IN THE BASEMENT, AND I THINK THEY’RE ALL WEARING TUXES THERE.” “[MY PARENTS] WERE VERY SOCIAL. [MY FATHER] WAS FROM CLARESHOLM. [MY FATHER’S] FATHER HAD DIED OF TUBERCULOSIS OF THE SPINE. HE HAD BEEN MISTREATED BY A CHIROPRACTOR FOR HIS BAD BACK, AND THEY FOUND THAT HE HAD TUBERCULOSIS. [AFTER MY GRANDFATHER’S PASSING], HIS MOTHER GROOMED TWO OR THREE OF THE KIDS TO BECOME DOCTORS, PROBABLY AS A RESULT OF THIS TRAUMATIC EXPERIENCE. THEY REALLY BECAME THE NOUVEAU RICHE, BECAUSE IN THE ‘20S AND ‘30S, MEDICAL PEOPLE WERE ON A PARTICULAR PEDESTAL THAT THEY DON’T HAVE NOW BECAUSE OF SOCIALIZED MEDICINE. THEY HAD A CERTAIN OPINION OF THEMSELVES. THEY DRESSED UP AND THEY WERE IMPORTANT PEOPLE AND THAT’S JUST THE WAY IT IS.” ABOUT DR. ARTHUR HAIG’S PRACTICE, JOAN ADDED, “HE HAD A CONTRACT WITH THE GALT MINE, SO WHEN OTHER PEOPLE WERE STRUGGLING VERY HARD, HE WAS DOING PRETTY WELL. IN 1937 THEY BUILT THAT HOUSE. [THEY] HAD IT CUSTOM BUILT FOR THEM, SO THAT INDICATES THAT THERE WASN’T A LACK OF FUNDS AT ALL. THEY SOCIALIZED IN THESE CIRCLES. LETHBRIDGE WAS A VERY, VERY CLIQUEY TOWN; AND THEY WERE IN THE TOP CLIQUE.” “THE NORTH SIDE, OF COURSE, WERE THE LABORING GROUPS AND THE SOUTH SIDE WERE THE BUSINESS AND PROFESSIONALS AND NEVER THE TWAIN SHOULD MEET,” BRUCE ELABORATED ABOUT EARLY LETHBRIDGE SOCIETY, LAUGHING. “HE KNEW A LOT OF PEOPLE, AND I KNOW THAT EVEN NOW I RUN INTO PEOPLE THAT I THINK ARE OLDER THAN GOD, AND THEY SAY, ‘OH, DR. HAIG DELIVERED ME,’” JOAN ILLUMINATED, “AND OF COURSE IN THOSE DAYS, DOCTORS WORKED 24 HOURS A DAY, SEVEN DAYS A WEEK. WHEN THEY GOT CALLED THEY WENT, SO HE EARNED HIS TIME OFF AND HIS FRIVOLITIES. HE WAS A VERY INTERESTING MAN. HE AND I GOT ON QUITE WELL.” “WITH THE ROTARY [CLUB] THEY USED TO HAVE THESE BIG MASQUERADE PARTIES. BRUCE’S MOTHER AND I ONCE DRESSED UP. SHE PROBABLY WORE THIS [JACKET TO ONE OF THESE PARTIES] – DRESSED UP IN TUXEDOES AND TOP HATS AND THE WHOLE THING. I BORROWED ONE FROM A DRAMA CLUB. [DR. ARTHUR HAIG] LIT US EACH A CIGAR, SO THAT IT WOULD HAVE ASHES ON THE END. WE WEREN’T SMOKING THEM, BUT WE HAD CIGARS WITH US. [WE] HAD LOTS OF FUN. THAT WAS AFTER [BRUCE’S FATHER’S] STROKE… [AND AT THESE EVENTS] DIFFERENT GROUPS WOULD HAVE A TABLE. THEY DIDN’T BUY A TABLE, BUT THEY WOULD CLAIM A TABLE AND YOU DIDN’T DARE SIT AT THE HAIG CLINIC TABLE. AND [THERE] WAS THE CAMPBELL CLINIC TABLE, AND SO WE WENT AND SAT AT IT, AND BRUCE’S BROTHER WAS THERE AND DIDN’T RECOGNIZE HIS OWN MOTHER AND TOLD US TO GET LOST… [BRUCE’S MOTHER] LAUGHED ABOUT THAT FOR YEARS AFTERWARDS, ABOUT HOW HER OWN SON HAD TRIED TO THROW HER OUT OF THE PARTY,” JOAN RECALLED AS SHE LAUGHED. THE CIGAR DONATED AS PART OF THE COLLECTION IS A PART OF THE TUXEDO’S STORY. “IT FELL OUT OF THE POCKET WHEN I TOOK THE THING OUT OF THE BOX,” JOAN EXPLAINED, “HE SMOKED CIGARS FOR MOST OF HIS LIFE. IN FACT, EVEN WHEN WE MOVED INTO THE HOUSE, YOU COULD STILL SENSE THAT THERE HAD BEEN CIGARS SMOKED IN THAT HOUSE AND THAT TOOK YEARS TO AIR OUT.” “HE [ALSO] SMOKED CIGARETTES,” BRUCE ADDED, “IN LATER YEARS WHEN THEY STARTED TO HAVE THE CANCER SCARE, THEY WOULD HAVE THE LITTLE EXTENSION ON THE CIGARETTE.” IN THE LETHBRIDGE HISTORICAL SOCIETY’S 1991 PUBLICATION TITLED, “LETHBRIDGE: ITS MEDICAL DOCTORS, DENTISTS, DRUG STORES,” IT STATES, “[DR. ARTHUR A. HAIG] GRADUATED [IN] 1926 [FROM] MCGILL. [HE] PRACTICED IN LETHBRIDGE FROM 1928 AND WAS JOINED BY HIS BROTHER, DR. WILLARD HAIG IN 1934. WITH DRS. J. E. AYRE, H. A. ARNOLD, W.R. HAIG AND E. A. M. CAIRNS FORMED THE HAIG CLINIC IN 1939. [DR. A. HAIG] WAS BORN [IN] DEVIL’S LAKE, NORTH DAKOTA, MOVED TO CLARESHOLM, ALTA, IN 1902. [HE WAS A] SPECIALIST IN GENERAL SURGERY.” AN ARTICLE IN THE JANUARY 7, 1989 EDITION OF THE LETHBRIDGE HERALD WAS PUBLISHED IN COMMEMORATION OF THE HAIG’S CLINIC 50TH ANNIVERSARY. IT STATED, “THE HAIG CLINIC WAS FORMED JAN. 1, 1939… IT OPENED IN THE MCFARLAND BUILDING IN DOWNTOWN LETHBRIDGE… IN 1950, A NEED FOR MORE SPACIOUS PREMISES RESULTED IN THE PRESENT HAIG CLINIC BUILDING, 601 6TH AVE, S… IN 1963, ARTHUR RETIRED FOR HEALTH REASONS. HE DIED NOV. 14, 1986 AT THE AGE OF 83.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, DETAILED ARTICLES LETHBRIDGE HERALD OUTLINING THE HAIG CLINIC HISTORY AND THE HAIG’S SOCIAL OUTINGS.
Catalogue Number
P20160041008
Acquisition Date
2016-11
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PLASTIC, PAINT, METAL
Catalogue Number
P20170023001
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
PLASTIC, PAINT, METAL
No. Pieces
2
Height
10
Length
9.5
Width
3.8
Description
FIGURINE OF ROYAL CANADIAN MOUNTED POLICE OFFFICER ON BLACK HORSE; OFFICER IS PAINTED TO WEAR BROWN ROUND-BRIM HAT, RED SERGE JACKET, NAVY BREECHES, AND BROWN BOOTS. HORSE IS PAINTED BLACK WITH GREY AND BROWN SADDLE AND BRIDLE; FIGURINE IS FIXED TO GREY RECTANGULAR BASE WITH TEXT STAMPED ON BOTTOM “LINEOL, GERMANY”. OFFICER IS DETCHABLE AND SECURES TO HORSE WITH METAL PEG. PAINT IS SCRAPED AND PEELED ON FIGURINE; HORSE’S LEGS ALL HAVE CRACKS RUNNING THROUGH; BASE IS CRACKED FROM EDGE TO HORSE’S FRONT LEFT LEG AND HIND RIGHT LEG; OVERALL GOOD CONDITION.
Subjects
TOY
Historical Association
LEISURE
SAFETY SERVICES
MILITARY
History
ON JULY 21, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLENN AND JOANNE ALLEN REGARDING THEIR DONATION OF RCMP AND LETHBRIDGE MEMORABILIA. GLENN ALLEN WAS RAISED IN LETHBRIDGE, AND COLLECTED THE OBJECTS AS A CHILD LIVING IN LETHBRIDGE. ON THE RCMP FIGURINE, ALLEN RECALLED, “THESE TWO MOUNTED POLICE ITEMS, THE BANNER AND THE LITTLE STATUETTE…I WAS YOUNG, IN THE [HOMEFRONT] PERIOD FROM 1940-1945. LETHBRIDGE WAS A MAJOR BASE FOR THE COMMONWEALTH AIR TRAINING THING. WE HAD YOUNG BRITISH AIRMEN COME, AND THEY LIVED EVERYWHERE. THEY BOARDED WITH PEOPLE; THEY STAYED ON BASE, BUT WHEN THEY HAD A DAY OFF, IT WAS ONE OF THE RESPONSIBILITIES OF THE PEOPLE OF LETHBRIDGE TO TAKE THEM ON LITTLE JOURNEYS TO PLACES. I CAN REMEMBER GOING WITH THEM…TO FORT MACLEOD, AND THEN TO PINCHER CREEK, AND WE HAD PLUMS AND CHERRIES. I CAN REMEMBER MY MOTHER BRINGING THIS BAG OF FRUIT OUT, AND SAYING TO THE ONE YOUNG FELLOW, “WOULD YOU LIKE A PIECE OF FRUIT?” HE WAS SITTING IN THE FRONT SEAT, TURNED TO MY MOTHER [WHO] WAS DRIVING THE CAR, [THEN] HE TURNED TO HIS BUDDIES IN THE BACKSEAT, AND HE [SAID], “WOULD YOU LIKE A PLUM OR A CHERRY?” WE VISITED THERE, AND THOSE WERE GIFTS FROM THOSE AIRMEN TO ME, AT THAT TIME. I HAD A LITTLE MANTLE IN MY ROOM, DOWNSTAIRS IN CALGARY, AND HAD THEM THERE. WHEN WE WERE IN LETHBRIDGE, WE HAD NO SPACE AT ALL FOR ANYTHING. OUR FURNITURE HAD TO BE ALL STORED. THE ONLY POSSESSIONS OF OURS THAT WERE IN THAT HOUSE WERE OUR BEDS AND OUR DRESSERS, MAYBE A COUPLE OF CHAIRS…” “[I DISPLAYED THEM] MORE CALGARY, THAN LETHBRIDGE.” ALLEN ELABORATED ON HIS FAMILY’S HISTORY IN LETHBRIDGE, NOTING, “MY MOTHER’S FAMILY CAME TO LETHBRIDGE IN 1923, AND SHE WAS ABOUT 12 AT THE TIME. SHE DIDN’T GO TO SCHOOL ANY FURTHER AT THAT POINT IN TIME, AND SHE WAS HIRED ON AS A HOUSE GIRL FOR THE STOLZ FAMILY.” “MY DAD’S NAME WAS TOM, THOMAS SPENCE ALLEN, AND MY MOTHER WAS DOROTHY EMMA SCHIELS. MY DAD’S FAMILY - HIS FATHER AND, A FEW YEARS LATER MY DAD AND HIS MOTHER - CAME TO LETHBRIDGE IN 1910, AND THEY SETTLED IN NORTH LETHBRIDGE, AT 707 12A ST. NORTH. THERE WERE THREE BOYS AND ONE GIRL. THEY ALL WENT THROUGH HIGH SCHOOL AT GALBRAITH HIGH SCHOOL, AND MY DAD WORKED FOR THE RAILWAYS. HE STARTED AS A MESSENGER…HE WAS 15 YEARS OF AGE. HE PROGRESSED IN THE FREIGHT CPR BUSINESS, AND BECAME A FREIGHT INSPECTOR IN LETHBRIDGE, AND THEN, IN 1948, WAS TRANSFERRED TO CALGARY. MY MOTHER WAS ALWAYS A HOUSEWIFE. THEY LIVED ON 3RD AVENUE NORTH, BY THE LEALTA THEATRE. THEY HAD JUST ONE CHILD. I GREW UP [IN THAT HOUSE] UNTIL I WAS ABOUT AGE FIVE. AT THAT TIME, THE END OF THE WAR WAS COMING, AND SOLDIERS WERE RETURNING. RENTAL HOUSING BECAME ALMOST NOT AVAILABLE. ANYBODY WHO WAS RENTING AT THAT TIME, IF YOU HADN’T BEEN IN THE FORCES, YOU WERE REQUIRED BY ORDINANCE TO FIND ANOTHER PLACE. IT WAS A HOUSE WHICH WE HAD TO GIVE UP. WE’D BEEN THERE SINCE I WAS BORN. THEN WE MOVED OVER TO 12TH STREET C, THE 500 BLOCK. WE LIVED TEMPORARILY THERE, AND THEN THAT HOUSE WAS SECONDED. WE WERE ONLY THERE MAYBE 6 MONTHS, AND THEN WE MOVED INTO AN ATTIC SPACE AT 507 12TH STREET A NORTH, AND LIVED IN THE 2 ROOMS IN THE ATTIC - NO INSULATION, AND VERY COLD IN THE WINTER, AND HOT IN THE SUMMER.” “[MY FATHER] GOT A PROMOTION [IN 1948]. HE GOT A PROMOTION TO CALGARY…A BETTER JOB.” “MY MOTHER AND DAD LIVED IN LETHBRIDGE, GREW UP IN LETHBRIDGE. MY MOTHER WAS THE COLLECTOR IN THE FAMILY. WHEN I WAS MARRIED [IN 1962], ALL OF THESE THINGS SHE GAVE ME TO JUST TAKE ALONG, BECAUSE THEY HAD BEEN GIVEN TO ME. THEY ARE JUST LITTLE ITEMS THAT WE JUST DON’T KNOW WHETHER THEY HAVE ANY VALUE, AND RATHER THAN HAVE THEM JUST GO TO LAND FILL, WE’D LIKE YOU TO HAVE A LOOK AT THEM.” “TODAY IS OUR FIFTY-FIFTH WEDDING ANNIVERSARY, AND WE’RE RETURNING TO LETHBRIDGE BECAUSE WE’VE HAD THESE THINGS IN OUR POSSESSION FOREVER, AND WE WANT TO SEE IF THEY HAVE ANY VALUE TO THE MUSEUM. THEY ARE RELICS THAT WE’VE [GATHERED] FROM PAST YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170023001-GA.
Catalogue Number
P20170023001
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20180022000
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
COTTON, WOOL
No. Pieces
1
Length
175
Width
61.5
Description
GOBELIN TAPESTRY, MACHINE-STITCHED AND WOVEN; SCENE WOVEN DEPICTS FOUR FIGURES IN A HOUSE AROUND A TABLE, THREE ADULTS AND A CHILD; INTERIOR OF HOUSE DEPICTED SHOWS CABINET AND VASES ON CARPET IN FOREGROUND ON LEFT SIDE; BACKGROUND HAS TWO CHAIRS AND A LANDSCAPE PAINTING ON WALL AT LEFT, CENTER OF ROOM HAS A FIREPLACE AND COOKING POT WITH SIX PLATES ON MATLEPIECE, RIGHT SIDE OF FIREPLACE SHOWS PODIUM WITH BOOKS STACKED AND CABINET; RIGHT SIDE SHOWS FIGURES IN FOREGROUND AROUND A TABLE SEWING, AND WINDOW ON RIGHT WALL OPEN. SCENE IS WOVEN USING GOLD AND BROWN HUES PRIMARILY, WITH PINK AND GOLD FOR FLOOR. FRONT HAS ORANGE STAINING ALONG UPPER EDGE ON RIGHT, CENTER, AND LEFT SIDES; TAPESTRY SHOWS SIGNS OF FADING; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
ON SEPTEMBER 27, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARY WITDOUCK REGARDING HER DONATION OF A GOBELIN TAPESTRY. WITDOUCK IMMIGRATED TO CANADA FROM HOLLAND IN 1955 WITH HER FAMILY, THE BOUWS, AND HAD BEEN GIFTED THE TAPESTRY BY HER MOTHER PRIOR TO IMMIGRATING, HAVING PURCHASED THE TAPESTRY FROM A BELGIAN SALESMAN. ON THE TAPESTRY, WITDOUCK ELABORATED, “THERE WERE A FEW TAPESTRIES [IN THE FAMILY] BUT THEY WERE NOT GOLDEN. THEY WERE TAPESTRIES [OF] TULIP FIELDS AND THEY WERE MORE VELVETY TYPES WITH BRIGHT COLOURED TULIP FIELDS…IN DIFFERENT COLOURS HERE, DIFFERENT COLOURS THERE. TO ME, THEY WERE NICE AT THE TIME BUT THEY FADED MORE AND THEY WERE JUST NOT LIKE THIS ONE.” WITDOUCK TOLD THE STORY OF HOW SHE ACQUIRED THE TAPESTRY, RECALLING, “IT WAS AROUND THE END OF FEBRUARY IN 1955. I WAS SEVENTEEN YEARS OLD AND WORKED ON MY FATHER’S FARM. OUR FARM WAS SITUATED NEAR THE SMALL TOWN OF ERP IN THE PROVINCE OF NORTH BRABANT, NETHERLANDS. THE ECONOMY IN EUROPE AT THE TIME, DUE TO THE AFTERMATH OF THE SECOND WORLD WAR WAS NOT GOOD AND THAT WAS EXPECTED TO LAST FOR MANY MORE YEARS. LIFE FOR US, MYSELF AND OUR WHOLE FAMILY, WAS ABOUT TO CHANGE IN A BIG WAY AS MY PARENTS HAD MADE PLANS TO IMMIGRATE TO CANADA. THE DAY THAT WE WOULD LEAVE WAS ONLY ABOUT THREE WEEKS AWAY ON MARCH 25TH TO BE EXACT AND LOTS HAD TO BE DONE TO PREPARE FOR THAT DAY. JUST AROUND THAT TIME, A MAN RIDING A TRANSPORT BICYCLE STOPPED BY OUR HOUSE. THE MAN SAID THAT HE WAS SELLING TAPESTRIES AND ASKED MY MOTHER IF HE COULD SHOW THEM TO HER. THE TAPESTRIES WERE GOBELINS AND WERE MADE IN BELGIUM. SEVERAL OF US GIRLS, ALONG WITH MY MOTHER STOOD AROUND THE SALESMAN AS HE SHOWED US THE DIFFERENT ONES. MY MOTHER THEN SAID TO US OLDER GIRLS, 'IF YOU LIKE TO HAVE ONE YOU MAY ALL PICK ONE.' WE WERE HAPPY WITH THAT TO GET THESE TAPESTRIES. I DON’T KNOW WHAT MY MOM PAID FOR THEM. WE CAREFULLY WRAPPED THEM AS SOON THESE TAPESTRIES WOULD COME ALONG TO CANADA. AFTER ARRIVING IN CANADA, I WAS NOT ABLE TO SHOW OFF MY TAPESTRY ON THE WALL UNTIL 1965 ABOUT 10 YEARS LATER. RALPH [WITDOUCK] AND I MET AND MARRIED IN 1960, AND CAME TO LIVE ON A FARM IN A SMALL TWO-ROOM HOUSE. [WE] DID NOT HAVE A WALL LARGE ENOUGH TO HANG THIS BEAUTIFUL TAPESTRY. OUR FAMILY GREW AND FIVE YEARS AND THREE LITTLE ONES LATER, WE MOVED INTO A MUCH LARGER HOME. EVER SINCE THEN, NEARLY FIFTY YEARS, WE HAVE BEEN ABLE TO SHOW OFF THIS BEAUTIFUL TAPESTRY. THE REASON WHY THE TAPESTRY ALSO MEANT A LOT TO US IS BECAUSE BELGIUM WAS THE PLACE WHERE RALPH WAS BORN…I STILL REMEMBER MANY OF THE OLDER HOMES IN HOLLAND, THAT HAD THE SAME TYPE OF FURNITURE, FIREPLACE WITH PLATES ON TOP, WINDOWS THAT OPENED FROM THE TOP…AND A DOOR WHERE YOU COULD LEAVE THE TOP HALF OPEN, AND ALSO A BIBLE STAND WITH BIBLE. I ALSO REMEMBER MY GRANDMOTHER BEING DRESSED LIKE THE MOTHER IN THE TAPESTRY. ALSO SEWING AND KNITTING WAS ALL DONE BY HAND.” “IT’S IMPORTANT BECAUSE I’VE ALWAYS LIKED OLD PLACES IN EARLIER DAYS. I REALLY LIKED GOING TO MY GRANDPARENTS BECAUSE THINGS WERE SO DIFFERENT THEN. ALREADY [BEFORE 1955]…OUR PLACE WAS A BIT MORE MODERN. I CAN CONNECT WITH LOTS OF THOSE THINGS [IN THE TAPESTRY] BECAUSE I SAT ON THOSE CHAIRS AND I KNOW MY GRANDMA WAS DRESSED SOMETHING LIKE THE LADY IN THERE.” “BELGIUM WOULD HAVE HAD THOSE SAME SCENES IN THOSE DAYS. THEY WERE OLD FARM HOMES…THEY WERE AN AWFUL LOT ALIKE.” “I’VE ALWAYS ENJOYED HAVING THIS ON THE WALL. MOST OF THE TIME IT WAS EITHER IN THE DINING ROOM OR IN THE LIVING ROOM, EITHER ABOVE THE CHESTERFIELD OR [IN FAIRMONT SUBDIVISION] WE HAD IT IN THE DINING ROOM, THERE WAS A NICE BIG WALL THERE.” “THE FARM THAT WE WERE LIVING ON WHEN I LIVED IN THE TWO-ROOMED HOUSE WAS SE 10-11-20. THEN WE MOVED TO SW 15-11-20 AND THERE WAS A TWO-STORY HOUSE ON THERE THAT WAS BUILT IN 1906. IT WAS OLD AND IT WAS COLD. IT WAS ONLY INSULATED WITH NEWSPAPERS BUT WE HAD MUCH MORE ROOM...WE LIVED THERE UNTIL WE WERE ABLE TO BUILD A NEW HOME ON THAT PLACE [IN 1975]. BUT AS SOON AS WE MOVED TO SW 15-11-20, I WAS ABLE TO PUT [THE TAPESTRY] UP.” “AT THAT TIME, IT WAS HANGING ON A ROD. THERE WERE ALSO TASSELS ON THERE…I THINK MY KIDS HAD PROBABLY PULLED ON IT TOO MUCH. THEY WERE ALL LITTLE ONES [AND] BECAUSE IT WAS ALWAYS HANGING ABOVE THE CHESTERFIELD AND THE KIDS ARE ON THE CHESTERFIELD [IT WAS DAMAGED]. AFTER THAT, PROBABLY TWENTY YEARS AFTER THAT, WE DECIDED TO FRAME IT. I HAD IT, WE LIVED IN FAIRMONT FOR ABOUT TWELVE YEARS…MAYBE FIFTEEN YEARS…I HAD IT HANGING IN THE DINING ROOM ON A NICE BIG WALL. IT’S ALWAYS BEEN ON THE WALL UNTIL WE GOT [IN THIS LETHBRIDGE HOUSE], BECAUSE I KNEW THAT THIS WAS THE LAST PLACE UNTIL WE HAVE TO GO TO…ONE OF THOSE PLACES [SENIORS’ HOMES]. YOU DON’T KNOW WHERE YOU’LL END UP, BUT NOW WE DECIDED THAT WE SHOULD DECIDE WHAT TO DO WITH IT.” WITDOUCK RECALLED THE MOVE HER FAMILY MADE TO CANADA IN 1955, STATING, “WE [THE BOUW FAMILY] LEFT MARCH 25TH, AND WE ARRIVED IN CANADA…AT PIER 21 IN HALIFAX ON APRIL 2ND. WE ENDED UP IN LETHBRIDGE ON APRIL 6TH. MY BIRTHDAY WAS ON JULY 6TH SO I WAS NEARLY 18.” “[MY PARENTS] THOUGHT, WELL ‘MAYBE THIS [TAPESTRY] IS A NICE MEMORY’ AND [MY MOTHER] WANTED TO MAKE US HAPPY BECAUSE WE WERE IMMIGRATING AND WE LEFT OUR FRIENDS BEHIND, FAMILY. MY OLDER SISTER WAS ALREADY IN CANADA BECAUSE SHE GOT MARRIED THE YEAR BEFORE. [THAT WAS] ONE MORE REASON WHY MY PARENTS WANTED TO IMMIGRATE TOO, BECAUSE THEY KNEW THAT THE FAMILY WOULD BE DIVIDED FOREVER IF WE DIDN’T GO. LOTS OF TIMES WITH FAMILIES, SOME WOULD LIKE TO GET MARRIED BUT THERE WAS NO CHANCE IN HOLLAND. AFTER THE WAR, THE ECONOMY WAS REALLY BAD AND PEOPLE COULD NOT BUILD ANY HOMES FOR THEIR CHILDREN WHO [GOT] MARRIED.” “THERE WERE NINE CHILDREN, TEN WITH THE ONE THAT IMMIGRATED TO [CANADA] BEFORE…THE YOUNGEST ONE WAS FIVE, AND MY SISTER WAS 22 BY THEN AND THE NEXT ONE WAS 21. WE SLEPT WITH THREE IN A BED. ON THE FARM, WHEN WE ARRIVED, [THERE WAS] NO RUNNING WATER AND THAT WAS THE NORM FOR ALL NEW IMMIGRANTS.” “MY OLDER SISTER ENDED UP IN SPRING COULEE [WITH] HER HUSBAND, AND NATURALLY WE WANTED TO BE IN SOUTHERN ALBERTA TOO. BUT IN SPRING COULEE THERE’S NO SUGAR BEETS [AND] WE WANTED TO BE SOMEWHERE WHERE A FARMER WAS GOING TO GIVE US A JOB. THAT’S THE ONLY WAY YOU COULD COME IS IF YOU HAD A JOB LINED UP FOR A FAMILY LIKE THAT.” “I MISSED MY FRIENDS THE MOST BUT, IN THE MEANTIME, YOU END UP WITH NEW FRIENDS, SLOWLY…WE WERE ONLY [HERE] FOUR DAYS AND I HAD A JOB IN MILK RIVER ALREADY. IN THE MEANTIME, I GOT TO KNOW RALPH. I ONLY GOT TO COME HOME ONCE IN TWO WEEKS FROM MILK RIVER TO PICTURE BUTTE AND WE WENT TO CHURCH. RALPH WAS CATHOLIC TOO AND THIS IS HOW WE GOT TO SEE EACH OTHER AND HE FLIPPED MY HAT OFF. HE WAS KIND OF A FUNNY GUY. WE BECAME FRIENDS AND THEN IF YOU HAVE FRIENDS HERE, YOU DON’T REALLY FORGET THE ONES IN HOLLAND BUT IT BECOMES EASIER.” “I WAS NEVER AGAINST [IMMIGRATING]…WE [SAW] THAT THERE WAS GOING TO BE A FUTURE HERE IN CANADA FOR US. WHEN WE FIRST ARRIVED IN CANADA WE COULD SEE THAT ALL THE FARMERS WERE NOT ALL THAT RICH EITHER. THEY WERE WILLING TO GIVE US A JOB BECAUSE THEY NEEDED PEOPLE TO HELP IN THE SUGAR BEETS AND THAT. BUT AT THE SAME TIME WE COULD SEE THAT THEY WERE NOT ALL THAT RICH YET EITHER. THERE WAS THE ODD ONE THAT WAS VERY WELL OFF BUT LOTS OF THEM WERE NOT. BUT THEY WERE WILLING TO GIVE US A JOB. WE ARRIVED IN APRIL [WITH] THE FARMER, BUT WHEN THE BEETS WERE READY TO BE THINNED AND HOED AND HARVESTED…[AFTER THAT] MY DAD WAS OUT OF A JOB. WE COULD STILL LIVE IN THE HOUSE AS LONG AS WE WANTED BUT OF COURSE MY DAD WANTED A JOB AND HE LOOKED AROUND. HE ENDED UP [AT LOURDES FARM].” [MY DAD] WORKED THERE FOR TWO YEARS, BUT HE WANTED TO FARM FOR HIMSELF. THEN HE CAME AND WORKED FOR TIFFIN BUT NOT ON THE DAIRY. HE HAD ANOTHER PLACE, AND TIFFINS WERE VERY GOOD FOR US. THEY GAVE US A MILK COW AND THAT MEANT A LOT. WE HAD A YARD AND A LITTLE GARDEN, AND MY DAD RENTED LAND FOR SUGAR BEETS FROM TIFFIN FOR A FEW YEARS THEN HE BOUGHT A FARM IN BOW ISLAND. MY PARENTS MOVED TO BOW ISLAND BUT I NEVER MOVED WITH THEM BECAUSE I HAD A GOOD JOB HERE. THEN RALPH AND I WERE GOING TOGETHER ALREADY AND HE WAS TALKING SOMETIMES ABOUT GETTING MARRIED.” “I THINK [IMMIGRATING] WAS HARDEST ON MY MOTHER, YET SHE WAS THE BIGGEST PUSH BEHIND IMMIGRATING. I THINK IT WAS THE HARDEST ON HER MAINLY BECAUSE, DURING THE DAY WE WERE ALL OUT WORKING IN THE BEETS. IF WE WEREN’T WORKING IN THE BEETS, THE CHILDREN WERE GOING TO SCHOOL. LUCKILY THE YOUNGEST ONE WAS NOT IN SCHOOL YET AND THAT HELPED MY MOM. BUT SHE DIDN’T KNOW MUCH ENGLISH YET, MAYBE A LITTLE BIT, BUT NOT ENOUGH TO UNDERSTAND WHAT THE RADIO WAS SAYING. THEN HER PARENTS IN HOLLAND HAD A GOLDEN ANNIVERSARY...SHE WENT BACK. THAT WAS TWO AND A HALF YEARS AFTER SHE WAS HERE, SHE WENT BACK TO CELEBRATE HER PARENTS’ ANNIVERSARY. MY DAD DIDN’T GO, MAINLY BECAUSE IT WAS EXPENSIVE AND HE PROBABLY NEEDED THE MONEY HERE TO KEEP GOING. WHEN SHE CAME BACK SHE WAS A DIFFERENT PERSON. SHE WAS SO HAPPY TO BE BACK.” ON HER MOTIVES FOR DONATING THE TAPESTRY, WITDOUCK NOTED, “I WANT TO SCALE DOWN. I’M 81 NOW, YOU NEVER KNOW WHEN SUDDENLY YOUR LIFE TAKES A TURN...THIS IS WHY I WANT TO TAKE CARE OF [THE TAPESTRY] NOW BEFORE IT HAS TO BE DONE IN A HURRY.” FOR MORE INFORMATION INLCUDING MARY WITDOUCK’S TYPED STORY, LETHBRIDGE HERALD ARTICLES, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180022000-GA.
Catalogue Number
P20180022000
Acquisition Date
2018-09
Collection
Museum
Images
Less detail
Other Name
"CANADA 150 QUILT"
Material Type
Artifact
Materials
COTTON, WOOL, POLYESTER
Catalogue Number
P20180018000
  2 images  
Material Type
Artifact
Other Name
"CANADA 150 QUILT"
Date
2017
Materials
COTTON, WOOL, POLYESTER
No. Pieces
1
Length
239
Width
216
Description
QUILT WITH BACKGROUND PRINTED WITH RED NAMES OF CANADIAN TOWNS AND CITIES ON WHITE, AND WITH RED TRIM AROUND EDGES PRINTED WITH WHITE MAPLE LEAVES. QUILT HAS INNER BORDER ON FRONT ALONG LEFT, RIGHT, AND LOWER EDGES; INNER BORDER HAS 13 FABRIC BLOCKS TRANSFER PRINTED ON WHITE WITH THE FLAGS OF ALL CANADIAN PROVINCES AND TERRITORIES, THE NAME OF THE PROVINCE/TERRITORY, THE FLOWER OF THE PROVINCE/TERRITORY, AND THE DATE THE PROVINCE/TERRITORY JOINED CONFEDERATION; TRANSFER PRINTED BLOCKS ARE ARRANGED GOING DOWN THE LEFT SIDE: QUEBEC, ONTARIO, NORTHWEST TERRITORIES, BRITISH COLUMBIA; TRANSFER PRINTED BLOCKS ARE ARRANGED FROM LEFT TO RIGHT ALONG BOTTOM EDGE: YUKON, NEWFOUNDLAND AND LABRADOR, NUNAVUT, ALBERTA, SASKATCHEWAN; TRANSFER PRINTED BLOCKS ARE ARRANGED GOING DOWN THE RIGHT SIDE: NEW BRUNSWICK, NOVE SCOTIA, MANITOBA, PRINCE EDWARD ISLAND. CORNERS OF INNER BORDER HAVE TRANSFER PRINTED FABRIC BLOCKS HAVE BROWN, WHITE AND BLUE BACKGROUNDS WITH YELLOW TEXT “DISCOVER” AND RED TEXT “CANADA” WITH BLACK SILHOUETTES OF BEAR AND CARIBOU ON SIDES OF TEXT, WITH RED MAPLE LEAF BELOW TRANSFER PRINTED BLOCKS. CENTER OF QUILT HAS RED FABRIC BLOCK WITH APPLIQUED WHITE MAPLE LEAVES IN UPPER CORNERS, AND WHITE APPLIQUED TEXT IN CENTER “CANADA 150, 1867, 2017”. ABOVE CENTER BLOCK IS SEWN RED AND WHITE CANADA FLAG; LEFT OF FLAG HAS TRANSFER PRINTED BLOCK DEPICTING POSTER OF ORANGE, RED, AND BLACK CITYSCAPE WITH RED TEXT “OTTAWA”, AND TRANSFER PRINTED BLOCK OF BILINGUAL [ENGLISH AND FRENCH] ”ELIZABETH THE SECOND…A PROCLAMATION…” ON THE ADOPTION OF THE 1965 CANADIAN RED AND WHITE MAPLE LEAF FLAG; RIGHT OF CANADA FLAG SHOWS FOUR TRANSFER PRINTED FABRIC BLOCKS OF ITIERATIONS OF THE CANADIAN FLAG, STARTING FROM TOP: ROYAL UNION FLAG “USED PRIOR TO 1801”, RED ENSIGN “1871-1921”, CANADIAN RED ENSIGN “1921-1957”, AND CANADIAN RED ENSIGN “1957-1965”. BELOW CENTER “CANADA 150” BLOCK IS MAP OF CANADA WITH APPLIQUED PROVINCES AND TERRITORIES IN ORANGE, YELLOW, BLUE, AND RED FABRIC WITH WHITE PRINTED TEXT LABELLING THE PROVINCES AND TERRITORIES, WHITE STITCHED EDGES AROUND PROVINCES AND TERRITORIES, AND WHITE PRINTED IMAGES OF: ORCA AND FISH BESIDE BRITISH COLUMBIA; MOOSE AND TOTEM POLE ON BRITISH COLUMBIA; PUMPJACK AND SKIER ON ALBERTA; WHEAT HEAD ON SASKATCHEWAN; BEAR ON MANITOBA; BEAVER, LEGISLATURE BUILDING, AND CN TOWER ON ONTARIO; FLEUR-DI-LIES AND “SKIDOO” ON QUEBEC; LIGHTHOUSE AND FISH ON NOVA SCOTIA; FISH ON NEWFOUNDLAND AND LABRADOR; WHALES BESIDE NEWFOUNDLAND AND LABRADOR; HAWK ON YUKON; DIAMOND ON NORTHWEST TERRITORIES; CARIBOU, BEAR, AND INUKSHUK ON NUNAVUT. PROVINCES AND TERRITORIES HAVE CAPITAL CITIES INDICATED WITH BLACK STARS AND CITY NAMES IN WHITE. UPPER LEFT CORNER OF MAP HAS RED MAPLE LEAF AND YELLOW TEXT “DISCOVER” AND RED TEXT “CANADA”; UPPER RIGHT CORNER OF MAP HAS RED MAPLE LEAF AND BLUE TEXT “FROM SEA TO SEA” AND RED AND WHITE CANADIAN FLAG; LOWER LEFT CORNER OF MAP HAS RED, WHITE, AND BLUE ROUND COMPASS ROSE WITH “N” LABELLED AT TOP OF COMPASS IN BLACK. CENTER BLOCKS HAVE BORDERS AROUND THEIR PERIMETERS OF CREAM FABRIC PRINTED WITH RED REPEATING TEXT “CANADA 1867-2017”. BACK OF QUILT HAS WHITE LABEL ON TRANSFER PRINTED FABRIC IN UPPER LEFT CORNER WITH RED TEXT “SYDNEY FISHER; LETHBRIDGE, ALBERTA; 403-327-5838; QUILT FOR CANADA’S 150TH; 1867 – 2017.” BACK HAS MINOR STAIN AT LOWER EDGE; OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
COMMEMORATIVE
DECORATIVE ARTS
History
ON JULY 26, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SYDNEY AND FRANK FISHER REGARDING SYDNEY FISHER’S CREATION OF THE CANADA 150 QUILT DONATED BY VERN NEUFELD. NEUFELD WON THE QUILT IN A RAFFLE AS A FUNDRAISER FOR THE LETHBRIDGE SOUP KITCHEN. ACCORDING TO A LETTER SENT TO THE GALT MUSEUM, NEUFELD INDICATED THAT HE AND HIS WIFE HAD NO NEED TO KEEP THE QUILT, AND HAD OFFERED THE QUILT BACK TO THE LETHBRIDGE SOUP KITCHEN FOR ANOTHER RAFFLE. BILL GINTHER, CEO OF THE LETHBRIDGE SOUP KITCHEN, DIRECTED THE QUILT TO THE GALT MUSEUM & ARCHIVES, WITH THE DONATION COMPLETED BY NEUFELD. ON THE CREATION OF THE QUILT, SYDNEY FISHER RECALLED, “AS FAR AS I KNOW, IT’S THE ONLY ONE WITH THAT LAY-OUT THAT I’VE SEEN, ANYWHERE. IT WAS MY ORIGINAL IDEA. I LIKE TO MAKE THEME QUILTS. THE 150TH BIRTHDAY WAS THE IDEAL TIME TO DO IT. SO, I WENT ABOUT COLLECTING ALL THE PIECES, FROM THE INTERNET, AND THE MIDDLE PIECE IS TOTALLY MY OWN. THIS WAS FROM FABRIC STORES…THE MAP.” “I MADE THAT [CENTER PIECE], TOTALLY FROM SCRATCH. I BOUGHT THE TEMPLATES, CUT IT OUT, AND APPLIQUED IT ON. THESE LITTLE THINGS, I MADE UP OUT OF THREE MAPLE LEAFS, JUST STUCK TOGETHER, UP IN THE CORNER. I MADE THE FLAG, AT THE TOP. THIS PIECE [THAT READS “OTTAWA”] WAS FROM A PANEL [OF] MATERIAL.” “[I INCLUDED IT BECAUSE] IT’S THE CAPITAL. BELOW THAT IS THE DECLARATION FROM THE QUEEN THAT SAYS THAT THE MAPLE LEAF BECAME OUR FLAG IN 1965. THAT, WE GOT OFF THE INTERNET ALSO. AND, SOMEBODY SAID TO ME, 'YOU CAN’T DO THAT. THAT’S --' I SAID, 'IT’S ON THE INTERNET. I CAN SO.' THEN WE ALSO GOT, ON THE UPPER RIGHT-HAND CORNER, ARE THE FOUR FLAGS THAT [WERE] USED FROM 1867 TO 1965, AND IT’S GOT THE DATES UNDERNEATH EACH ONE OF THEM.” “[THERE ARE] THE FLAGS AND THE FLOWERS, AND THEN THERE’S ALSO THE DATES THAT THEY JOINED CONFEDERATION, WHICH BRINGS THEM DOWN THE QUILT FROM BOTH SIDES. THERE’S THE FOUR ORIGINALS, AND THEN AS THEY JOIN, THEY COME [AROUND THE EDGE], AND NUNAVUT IS RIGHT IN THE MIDDLE, BECAUSE IT WAS THE LAST ONE IN 1999.” “THAT CAME RIGHT OUT OF MY HEAD. IT’S JUST SOMETHING I LIKE TO DO. I LIKE THEME QUILTS, AND IF I HAVE A THEME, I RUN WITH IT. [THE QUILT] HAS MORE MEANING BECAUSE IT IS CANADA. SOMEBODY SAID TO ME, 'WELL, IT SHOULD HAVE SOMETHING TO DO WITH MILITARY.' NO, IT’S CANADA’S BIRTHDAY, IT’S NOT MILITARY! THAT ONE IS A CANADA QUILT…THIS ONE WAS SPECIFICALLY FOR CANADA.” “IT WOULD BE ABOUT MARCH OF 2017 [WHEN I STARTED THIS QUILT]. WHEN I START A QUILT, I FOCUS ON NOTHING ELSE. I HAVE THIS BEAUTIFUL PICTURE IN MY HEAD, AND IT’S GOT TO TURN OUT THAT WAY, OR I DON’T LIKE IT. I JUST KEEP GOING. THE FIRST ONE ENDED UP KING-SIZE BECAUSE I HAD ALL THIS STUFF I WANTED TO GET ON IT…THEN I STARTED NARROWING IT UP A BIT, SO THAT IT WOULD BE A QUEEN-SIZE INSTEAD.” “[THE FIRST QUILT] TOOK ABOUT 120 HOURS, BECAUSE I HAD TO GATHER ALL THE STUFF FOR [IT]. I [HAD] ALL THE PATTERNS FOR THIS, AND THE DOWN-SIZED ONE, SO I CAN PUT IT TOGETHER [FASTER]…BECAUSE I HAVE ALL THE PATTERNS…I WORK USUALLY FROM 7:00 IN THE MORNING TILL 4:00 IN THE AFTERNOON.” “THIS ONE WAS THE SECOND [QUILT] MADE TO SHOW OFF, BECAUSE [THE FIRST] ONE WENT TO ENGLAND. MY PLAN WAS TO MAKE ONE, AND I MADE THE ONE AND HUNG IT IN THE [ROYAL BANK ON MAYOR MAGRATH DRIVE]. IT WENT OVER SO WELL, I MADE TWO MORE. QUEEN-SIZE. THEN SOMEBODY SAID, “BUT THAT’S SO BIG.” THEN I MADE [ABOUT SIX]…WALL-HANGINGS.” “[THIS QUILT] WENT OVER WELL, EVEN IF THE BIRTHDAY IS OVER. PEOPLE WANT IT. THERE WAS A FELLOW AT THE BANK, HE WANTED THE QUILT BECAUSE HE’S SETTING UP, OUT IN STIRLING THEY HAVE A CP RAIL [MUSEUM], BUT THE QUILT WAS TOO BIG. HE ORDERED TWO—ONE FOR HIS HOUSE, AND ONE FOR STIRLING, BUT HE WANTED THE CP RAIL ACROSS CANADA, SO THAT ONE HAS THE CP RAIL ACROSS THE BOTTOM.” SYDNEY FISHER ELABORATED ON THE DONATION OF THE QUILT TO THE LETHBRIDGE SOUP KITCHEN FUNDRAISER, NOTING, “[THIS KING-SIZED VERSION ENDED UP] IN THE ROYAL BANK ON MAYOR MCGRATH. THAT IS MY BANKING BANK, AND I SAID, 'WOULD YOU CONSIDER HANGING IT THERE?' BECAUSE THAT WAS THE END OF JUNE…THEY HUNG IT THERE SO THAT THEY COULD HAVE IT THERE FOR THE FIRST OF JULY. [THIS QUEEN-SIZED VERSION] WENT TO THE EXHIBITION WHEN THEY HAD…A CANADA DAY PAVILION, OR CANADA’S 150TH BIRTHDAY. I HUNG ONE OF THE WALL HANGINGS ALONGSIDE OF IT.” “[THE KING-SIZED VERSION] WENT TO ENGLAND…THERE WAS AN ENGLISHMAN CAME INTO THE BANK, AND HE GAVE THE GIRLS HIS PHONE NUMBER, AND SAID, 'GET HER TO PHONE ME.' I PHONED HIM, AND HE SAID, 'I WANT ONE.' I SAID, 'EXCUSE ME?' WELL, HE SAID, 'THAT QUILT AT THE BANK…I WANT ONE.' I SAID, 'WELL, IT’S A KING-SIZE (IT’S 100X104, OR 108), IT’S $1000.00.' 'I’LL TAKE IT.'” “THAT’S WHEN I MADE TWO QUEEN-SIZED ONES. I DONATED [THE QUILT FROM THE PAVILLION] TO THE SOUP KITCHEN. I PUT [THE QUEEN-SIZED QUILTS] ON KIJIJI, AND GOT NO RESPONSE WHATSOEVER. I WOULDN’T PAY $800.00 FOR A QUILT, BECAUSE I COULD MAKE THEM. I BROUGHT THEM BACK HOME, AND I SAID, 'YOU KNOW, WE DONATE TO THE SOUP KITCHEN. THEY’RE DOING A BREAKFAST PROGRAM. THEY CAN TAKE IT, AND RAFFLE IT OFF FOR THEIR BREAKFAST PROGRAM.' I [DONATED ONE QUILT TO] NOR-BRIDGE. THEY RAFFLED IT OFF, FOR WHATEVER PROGRAMS THEY NEED.” “WE STARTED TALKING ABOUT IT, AND [THE SOUP KITCHEN STAFF] ALL SAID TO ME, 'OH, THAT WOULD BE NICE FOR US TO RAFFLE OFF.' I THOUGHT (THIS WAS BEFORE I PUT THEM ON KIJIJI), 'I DON’T KNOW.' WHEN THEY DIDN’T SELL ON KIJIJI, I TOOK IT TO BILL, AND I SAID, 'DO YOU STILL WANT IT?' WELL, HE HUNG IT ON THE WALL, AND STARTED SELLING TICKETS…I THINK THESE GUYS GOT $1500.00. I DON’T KNOW ABOUT NOR-BRIDGE…$1500.00 IS WHAT BILL SAID THEY MADE ON THAT QUILT. [TICKETS] WERE $5.00.” “THIS ONE HAD GONE TO SASKATCHEWAN…TO [THE KELVINGTON HERITAGE SHOW]. THE LEGION LADIES SAW IT, AND ASKED MY SISTER HOW MUCH I WANTED FOR IT. OF COURSE, THE LEGION ISN’T AS FLUID AS A LOT OF THINGS, AND $800.00 WAS TOO MUCH. I SAID, 'WELL, YOU ASK THEM IF THEY WOULD LIKE A WALL-HANGING.' THE WALL-HANGINGS ARE ONLY $150.00. THAT’S HOW THEY STARTED. THAT, AND LARRY AT THE ROYAL BANK, WHO WANTED A SMALLER ONE FOR STIRLING.” ON HER INTEREST IN QUILTING, SYDNEY FISHER RECALLED, “MY MOTHER [FRANCES DICKS, NEE FENNELL] SEWED EVERYTHING, FROM HER OWN BRAS ON UP, AND SHE SEWED FOR EVERYBODY. I WENT HOME TO HER HOUSE, WHEN I WAS IN NURSING, AND SHE SAID, 'WELL, DON’T TOUCH THAT.' THERE’S A SHEET IN THE MIDDLE OF THE LIVING ROOM FLOOR; THERE’S ANOTHER ONE OVER HERE; THERE’S ANOTHER ONE OVER HERE. I SAID, 'WHAT HAVE YOU GOT IN -?' “WELL, THAT’S THE WEDDING DRESS, AND THESE ARE THE BRIDESMAID DRESSES.” THAT’S HOW SHE SEWED! ON AN OLD TREADLE SEWING MACHINE.” “PROBABLY ABOUT 10 YEARS AGO I STARTED QUILTING. I WAS PAST DOING CLOTHING, AND TO DO THESE SILLY LITTLE THINGS THAT ARE OF NO USE, OTHER THAN TO COLLECT DUST, I CAN’T BE BOTHERED WITH THAT. I NEED TO HAVE SOMETHING I CAN KIND OF SET MY TEETH IN.” “QUILTING HAS MADE ME EVEN A WORSE HOUSEKEEPER THAN I ALREADY WAS, BECAUSE, WHEN I GET UP IN THE MORNING, AND I HAVE AN IDEA, WELL, 'IF YOU DON’T DO THE DISHES, FRANK, THEY AREN’T GOING TO GET DONE, BECAUSE I’M DOING SOMETHING.' I’M NOT A SUPER HOUSEKEEPER, AS IT IS, AND WHEN I HAVE SOMETHING LIKE THIS, EVERYTHING ELSE TAKES A BACK-BURNER.” SYDNEY FISHER NOTED HER THOUGHTS ON THE DONATION OF THE QUILT TO THE MUSEUM, “IT MEANS EVERYTHING TO ME, BECAUSE I AM A CANADIAN. I WAS BORN IN SASKATCHEWAN, AND THE FURTHEST I’VE GONE IS TO LETHBRIDGE. I’VE BEEN TO TORONTO ONCE, AND WE WENT TO NOVA SCOTIA ONCE. I’VE BEEN TO B.C. ONCE. I LIVED IN WINNIPEG FOR A COUPLE OF YEARS. BUT, YOU’RE STILL IN CANADA, AND, AS FAR AS I’M CONCERNED, THERE ISN’T ANY PLACE LIKE IT, EVEN IF IT IS THE DUST BOWL OF THE WORLD…I’M QUITE PROUD THAT IT’S AT THE MUSEUM. I DIDN’T THINK THEY’D EVER GET THAT FAR.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETTER FROM VERN NEUFELD, PLEASE SEE THE PERMANENT FILE P20180018000-GA.
Catalogue Number
P20180018000
Acquisition Date
2018-07
Collection
Museum
Images
Less detail
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
FELT, PAINT, WOOD
Catalogue Number
P20170038000
  2 images  
Material Type
Artifact
Date Range From
1990
Date Range To
2000
Materials
FELT, PAINT, WOOD
No. Pieces
1
Length
41.5
Width
88
Description
BLUE FELT BANNER WITH WOOD DOWEL POLE AT END, DOWEL WIDTH 88CM, BANNER WIDTH 74 CM. DOWEL ENDS ARE ROUNDED WITH SCREWS IN ENDS; RIGHT END OF DOWEL AS BLUE LINE AROUND POLE. BANNER IS FELT WITH WHITE FELT SEWN ON IN LETTERS “CFUW”, ROUND FELT MOSAIC OF COULEES UNDER A BLUE SKY BELOW, AND WHITE FELT SEWN TEXT “LETHBRIDGE & REGION”. LOWER EDGE OF BANNER HAS BLUE COTTON STRING TASSELS. BACK OF BANNER HAS WHITE OUTLINES OF LETTERS IN THREAD FROM STITCHING ON FRONT. LOOSE THREAD ON LETTER “G” IN “REGION” TEXT; LETTERS HAVE RED STAINING ON LOWER TEXT; WRINKILING OF FELT ON RIGHT SIDE OF BANNER; OVERALL VERY GOOD CONDITION.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DECORATIVE ARTS
ASSOCIATIONS
History
ON APRIL 16, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED KATHYRN YOSHIDA AND ROSE JURISICH REGARDING THE DONATION OF A WALL BANNER FROM THE CANADIAN FEDERATION OF UNIVERSITY WOMEN [CFUW]. YOSHIDA AND JURISICH WERE MEMBERS OF THE LETHBRIDGE CHAPTER OF THE CFUW WHEN THE HANGING WAS MADE IN THE 1990S. ON THE WALL BANNER, JURISICH RECALLED, “I THINK THAT [LAURIE] KAMINSKI MADE IT…SHE HASN’T BEEN A MEMBER FOR A LONG TIME… LAURIE MADE IT I THINK IN [PROBABLY THE ‘90S]. WE HAVE A NEW BANNER NOW THAT’S CURRENT. I DON’T REMEMBER WHO ELSE LAURIE DID IT [WITH]. SHE DIDN’T DO IT HERSELF, SHE DID IT WITH A COMMITTEE. BUT I DON’T REMEMBER WHO IT WAS.” “[WE USED THIS AT] PRAIRIE MEETINGS, WHERE WE ALL MET, AND THEY THOUGHT THAT EACH CLUB SHOULD HAVE A BANNER. THAT’S WHY WE GOT IT, AND THEN WE DIDN’T USE IT, I GUESS, BECAUSE IT’S HERE. I DON’T THINK [THE BANNER WAS IN USE] UP UNTIL 2010.” YOSHIDA ADDED, “I THINK [WE USED THE BANNER AT] MORE PROVINCIAL MEETINGS, NOT FOR THE GENERAL MONTHLY MEETINGS, BUT FOR ANYTHING A LITTLE BIT MORE SPECIAL.” “I REALLY LIKE [THE BANNER]…THE PRAIRIE AND THE COULEES. THERE’S A DIFFERENT…GRAPHIC ON THE NEW [BANNER]. THE NEW ONE WAS JUST UNVEILED A COUPLE YEARS AGO.” MACLEAN INTERVIEWED BARBARA DOYLE ON DECEMEBER 22, 2017 REGARDING HER TIME WITH THE CANADIAN FEDERATION OF UNIVERSITY WOMEN AND ON THE WALL BANNER. ON THE BANNER, DOYLE NOTED, “WE [USED] IT WHEN WE [WERE HAVING] A GATHERING OF PEOPLE FOR ONE THING—[THE] AGM. SOMETIMES, WE HOST [THE AGM], JUST THE ALBERTA ONE. IT GOES TO DIFFERENT CITIES, SO WE PUT [THE BANNER] UP THERE, WHEN SOMETHING LIKE THAT [HAPPENS].” “I THINK THIS IS JUST THE ‘HOME’ THING, AND THEY ALL HAVE A ‘HOME’ PLACE THERE, TOO. WHEREVER THEY ARE GOING, THERE IS PROBABLY SOMETHING LIKE [THIS BANNER DISPLAYED] TOO.” “I THINK I DO [REMEMBER THE BANNER BEING ON DISPLAY], BECAUSE I THINK [THE] NEW ONE HAS BEEN IN THE WORKS IN THE LAST FIVE YEARS.” “[WHEN I FIRST STARTED, THE BANNER] WOULD JUST HANG IT IN THE HOUSE, WHEN THERE WAS A MEETING… IT WOULD BE FOLDED UP AND PUT IN THE CLOSET.” YOSHIDA ELABORATED ON THE HISTORY OF THE CANADIAN FEDERATION OF UNIVERSITY WOMEN IN LETHBRIDGE, NOTING, “WE USED TO MEET AT THE [ATCO] GAS COMPANY [BUILDING]…IN THE 70S AND 80S…WE HAD TO GO DOWN STAIRS, AND I THINK THE STAIRS BECAME A PROBLEM FOR SOME OF OUR WOMEN. FROM THE GAS COMPANY [WE WENT] TO THE BULLMAN.” JURISICH ADDED, “WE WERE ALSO AT SAVE-ON-FOODS. [ATCO HAD] AN AUDITORIUM DOWNSTAIRS. THAT WAS QUITE LARGE. THEY [HAD] A VERY LARGE ROOM DOWNSTAIRS WITH A KITCHEN. IT WAS ACTUALLY VERY NICE EXCEPT THAT THE STAIRS WERE LIKE GOING INTO THE DEPTHS. THE STEPS WERE VERY STEEP AND VERY LONG. AND NO ELEVATOR.” DOYLE NOTED, “WE DON’T HAVE A BUILDING. BOOK CLUB IS AT PEOPLE’S HOUSES. WE ROTATE, AND WE HAVE A LITTLE, NOT A LUNCH, BUT NIBBLEY’S, (THAT’S FINGER FOOD), THERE. I DON’T KNOW WHERE THE BRIDGE GOES – THE BRIDGE PEOPLE. I THINK MAYBE TO THE SENIOR’S, ON THE SOUTH SIDE…WE USED TO GO TO THE POLICE STATION, BECAUSE THEY HAD A ROOM THERE, AND THEY LET US HAVE OUR MEETINGS THERE. I THINK IT WAS USUALLY MONTHLY THAT WE WERE DOING SOMETHING THERE.” “THAT SPACE [AT THE POLICE STATION] IS GONE, AND I WAS TOTALLY OUT OF IT THIS PAST SEMESTER, BECAUSE I WAS SO BUSY…I DON’T KNOW WHERE THEY WENT.” ON HER TIME WITH THE GROUP, JURISICH RECALLED, “I MOVED HERE IN 1971 AND A FRIEND BROUGHT ME TO THE ORGANIZATION. SHE THOUGHT I WOULD BE INTERESTED IN A MEMBERSHIP. IT WAS LIKE-MINDED WOMEN AND WE HAD A LOT OF DISCUSSIONS ABOUT WHITE PAPERS AND [OTHER TOPICS].” “AN UNDERGRADUATE DEGREE WAS FINE [TO BE A MEMBER], JUST SO LONG AS YOU HAD A DEGREE. THEY DIDN’T HAVE NURSING DEGREES AT ONE TIME, IT WAS JUST REGISTERED NURSE WHICH WASN’T CONSIDERED A DEGREE. NOW THEY HAVE NURSING DEGREES. BUT IF YOU HAD THAT KIND OF EDUCATION, THEN YOU WERE AN ASSOCIATE MEMBER…THEY ALSO WERE QUITE RESTRICTIVE AS TO LEGITIMATE UNIVERSITIES, AND THEY DON’T HAVE ANY OF THAT ANYMORE.” “I REMEMBER WHEN WE STUDIED THE WHITE PAPER ON THE MURDOCH CASE, WHERE THAT WOMAN WAS MARRIED FOR…FORTY YEARS OR SOMETHING AND THEY LIVED ON A FARM. HE LEFT SO THEY CHANGED THE LAWS ABOUT WOMEN CONTRIBUTING TO LIFE AND I THINK THE CHANGE WAS IN THE ‘70S OR ‘80S.” “THE SCHOOL SYSTEM [WAS AN IMPORTANT TOPIC] WHEN THEY WERE INTRODUCING THE GIFTED PROGRAM. I REMEMBER GOING TO MEETINGS ABOUT THAT AND REPORTING BACK.” “[OUR ACTIVISM] VARIES [BY] THE ISSUE, WE WERE VERY ACTIVE WITH THE ANTI-FRACKING. WE WERE DEMONSTRATING ON THE STREETS FOR THAT…I THINK WE WERE MORE INVOLVED WITH DISCUSSING THINGS. I DON’T THINK THE ADVOCACY WAS GREATER [THEN]. I THINK IT’S GREATER NOW.” “I REMEMBER THAT WE USED TO WRITE LETTERS AND THINGS, I THINK AT THE TIME. WE STILL DO THAT ACTUALLY.” “THE MEETINGS ARE ON SATURDAY, THAT’S TO ACCOMMODATE ANYBODY THAT’S WORKING THAT CAN COME. OTHERWISE THEY WOULD PROBABLY BE WORKING OTHER DAYS. THAT WAS PROBABLY WHY, ORIGINALLY, IT WAS DECIDED TO HAVE IT ON THE SATURDAY. SATURDAY AT NOON ACTUALLY. IT USED TO BE IN THE EVENING ALL THE TIME, THIRD MONDAY OF THE MONTH.” “FOR ME IT WAS THE FIRST ORGANIZATION THAT I WAS INTRODUCED TO AND I WAS WORKING. I HAD A WORKING LIFE AND A HOME LIFE WHERE I HAD CHILDREN. I DID BELONG TO SOMETHING ELSE AT ONE TIME, I THINK THE HOME EC ASSOCIATION. I ENJOYED THE PEOPLE IN IT AND IT WAS INTERESTING FOR ME. IT WAS DIFFERENT THAN ANYTHING I HAD DONE, SO THAT’S WHY I CONTINUED.” YOSHIDA ADDED, “I BECAME A MEMBER IN 1968, THE YEAR THAT WE CAME TO LETHBRIDGE, AND I WAS BROUGHT TO THE MEETING BY ANOTHER FACULTY MEMBER’S WIFE, JENNIFER BUTTERFIELD. I THINK SHE KNEW THAT WE WERE NEW TO TOWN AND WE DIDN’T REALLY KNOW ANYBODY. SHE REALLY DID A VERY NICE JOB OF INTRODUCING ME TO LETHBRIDGE AND WHERE THE MEAT MARKET AND VALUE VILLAGE [WERE], PLACES TO SHOP AND PLACES TO GO. CFUW WAS ONE PLACE THAT SHE BROUGHT ME TO. AT THE TIME, I WAS NOT ONLY NEW TO TOWN, BUT I WAS A STAY-AT-HOME WITH A BABY AND DIDN’T HAVE MUCH SOCIAL EXPERIENCES. THIS GROUP MET ONCE A MONTH AND IT WAS MY EVENING OUT AND, AS ROSE SAID, THEY HAD EXCELLENT SPEAKERS ABOUT [TOPICS], PEOPLE FROM THE COMMUNITY WHO WOULD COME AND TALK. IT WAS MY INTELLECTUAL EVENING, IT WAS AWAY FROM DIAPERS AND BABIES AND A CHANCE TO BE WITH ADULTS. THAT, FOR ME, REALLY SERVED A VERY IMPORTANT PURPOSE. AT THAT TIME I DIDN’T REALLY KNOW WHAT IT STOOD FOR AND THE PROVINCIAL OR NATIONAL AGENDAS, IT WAS JUST THAT IT WAS NICE.” “MANY WERE [IN THE] UNIVERSITY WOMEN’S CLUB. AT THE TIME, YOU HAD TO BE A GRADUATE OF A UNIVERSITY OR HAVE A DIPLOMA[TO BE A] FULL-FLEDGED MEMBER. I THINK THEY’RE DESPERATE FOR MEMBERS, BECAUSE I THINK THIS GROUP, AS OTHER GROUPS/CLUBS ARE NOTICING A DECLINE IN INTEREST THAT THEY HAVE TAKEN THAT [REQUIREMENT] AWAY. WHEN ROSE SAYS LIKE-MINDED PEOPLE, THE WOMEN WERE EDUCATED, THEY WERE KEEN, AT THAT TIME IT WAS THE WOMEN’S MOVEMENT, MS MAGAZINE WAS BIG, THE PLACE OF WOMEN AND EQUAL MEMBERS. WE’RE STILL WORKING ON IT…I REMEMBER WHEN IT WAS REALLY IMPORTANT…ALL ALONG IT HAS ALWAYS BEEN [ABOUT] THE STATUS OF WOMEN.” “DAYCARE WAS [AN] IMPORTANT [TOPIC] AT ONE TIME… SOMETIMES THE WOMEN IN OUR GROUP ARE INVOLVED IN OTHER AGENCIES OR GROUPS, SO IT KIND OF MESHES, AND I’M NOT SURE WHERE ONE BEGINS AND THE OTHER ENDS.” “[I JOINED THE GROUP BECAUSE] I GUESS NOBODY ELSE ASKED ME TO JOIN ANYTHING. ALTHOUGH, WHEN YOU ARE A ONE-CAR FAMILY AND YOU HAVE A BABY AND YOU ARE…TRADING, LIKE, I’LL LOOK AFTER YOUR CHILD THIS AFTERNOON SO THAT YOU CAN DO THIS AND THEN IT’S MY TURN, I WAS IN THAT SORT OF SITUATION. I GUESS I WASN’T INTERESTED IN PURSUING OTHER THINGS LIKE KINETTES, THE ‘Y’.” DOYLE ELABORATED ON HER TIME WITH THE CANADIAN FEDERATION OF UNIVERSITY WOMEN, STATING, “I WAS ASKED TO JOIN [THE GROUP BY A FRIEND, PATTY JOHNSON, ABOUT 2008], AND I ENJOY IT VERY MUCH. IT’S A WOMEN’S GROUP, AND WE COLLECT MONEY, FOR A [SCHOLARSHIP]…WE DO TWO SCHOLARSHIPS A YEAR, AND IT’S ALSO A FRIENDSHIP GET-TOGETHER, AND A LEARNING PROCESS. WE HAVE PEOPLE COME IN, AND [TELL] US WHAT’S GOING ON, AND WHAT’S GOING ON IN THE CITY…IT’S REALLY QUITE ENJOYABLE.” “I HAVE TWO DEGREES, SO I ENJOY THE COMPANY OF PEOPLE, THAT WE HAVE A LOT TO TALK ABOUT. I LIKE THE FACT THAT WE ARE GIVING BACK, TO THE KNOWLEDGE THAT WE LEARNED, IN THE FORM OF SCHOLARSHIPS.” “WHEN THIS STARTED, AND IT’S BEEN GOING IN LETHBRIDGE UNDER A DIFFERENT NAME, THE WIVES OF THE PROFESSORS THAT MOVED INTO TOWN, AND THE UNIVERSITY OF LETHBRIDGE WAS FORMED. THEY WERE THE ONES THAT STARTED THIS CHAPTER.” “I THINK MOST OF THE WOMEN THAT MARRIED WERE HOUSEWIVES, AFTER THEY WERE MARRIED, AND HAVING CHILDREN, BUT THEY HAVE DEGREES. THAT WAS THE REQUIREMENT FOR BELONGING – THAT YOU HAD A DEGREE, BUT JUST IN THE NEAR PAST NOW [ABOUT 2 – 3 - 4 YEARS], THE DOORS ARE OPEN TO ALL WOMEN NOW. THERE ARE A FEW PROFESSIONALS IN OTHER AREAS, AND SOME, WE DON’T ASK. IF THEY WANT TO JOIN, THAT’S FINE.” “THEY HAVE A PRESIDENT, VICE-PRESIDENT, SECRETARY. I’M FINDING, AS WE ARE ALL FINDING, AS WE ARE AGING, WE HAVE VERY FEW YOUNGER PEOPLE, BECAUSE THEY ARE ALL AT UNIVERSITY, AND VERY BUSY. THE ONES THAT HAVE JOBS, THEY ARE VERY BUSY TOO. AS WE AGE, WE ARE ALL ACTIVE, AND IT KEEPS US REALLY ACTIVE. IT’S GOOD TO GET OUT, AND BE WITH OTHER PEOPLE.” “WE DO HAVE PEOPLE IN THE GROUP THAT GO TO OTHER THINGS THAT ARE GOING ON, IN DIFFERENT PROVINCES. THEY SOMETIMES DO THE NATIONAL ONE, EVEN, AND FLY SOMEWHERE, AND THAT GOES ON ONCE A YEAR. IT’S CERTAINLY A WORTHWHILE GROUP, AND REALLY QUITE ACTIVE. WE HAVE A YOUNG PRESIDENT NOW, SHE IS DOING HER PHD, AND HER MOTHER IS A PROF [AT THE UNIVERSITY OF LETHBRIDGE].” “I THINK [THE GROUP IS RAISING AWARENESS] THAT TIMES ARE CHANGING. IT HAS BEEN, IN THE PAST, KIND OF SNOBBISH, HAVING TO BE VETTED IN, SO THIS IS REALLY GOOD, AND IT’S WORKED WELL. WE HAVE GOT SOME WONDERFUL PEOPLE WORKING IN [THE GROUP]…WHEN THEY HAD THE WOMEN’S PARADE, THE WOMEN’S PROTEST…THERE WAS A NUMBER OF US THAT PARTICIPATED IN THAT, AND THEY MADE THE HATS FOR IT. WE ARE ACTIVE IN THINGS LIKE THAT, THAT PERTAIN TO WOMEN.” “IT’S LIKE WOMEN ARE RISING, AND THAT SEEMS QUITE APPARENT. I AM IN THE UNIVERSITY BUILDING ENOUGH THAT I SEE IT AMONG THE YOUNG WOMEN. BOY, THEY DON’T LET ANYTHING GO BY. THEY’RE ACTUALLY REALLY QUITE GOOD, I THINK…[SEEING THAT MAKES ME FEEL] REALLY GOOD. IT’S ABOUT TIME. WE HAVE LOTS OF ENGAGEMENT WITH WOMEN—THE PEOPLE AROUND TOWN, WHO ARE THE ‘SHAKERS’ HERE, AND THEY SHAKE THINGS UP. THAT’S REALLY GOOD.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, THE CANADIAN FEDERATION OF UNIVERSITY WOMEN FORMED A CHAPTER IN LETHBRIDGE IN 1944. DR. URSILLA MACDONNELL, DEAN OF WOMEN AT THE UNIVERSITY OF MANITOBA, SPOKE TO A GROUP OF LETHBRIDGE WOMEN ON FORMING A CHAPTER. BY 1958, THE LETHBRIDGE CHAPTER WAS SENDING REPRESENTATIVES FOR THE CANADIAN FEDERATION OF UNIVERSITY WOMEN’S NATIONAL CONVENTION. FOR MORE INFORMATION INCLUDING COPIES OF LETHBRIDGE HERALD ARTICLES AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170038000-GA.
Catalogue Number
P20170038000
Acquisition Date
2017-12
Collection
Museum
Images
Less detail
Other Name
RETRACTABLE BANNER
Material Type
Artifact
Materials
VINYL, COTTON
Catalogue Number
P20180006007
  2 images  
Material Type
Artifact
Other Name
RETRACTABLE BANNER
Date
2017
Materials
VINYL, COTTON
No. Pieces
1
Length
199.6
Width
83.6
Description
WHITE VINYL VERTICAL BANNER. MULTICOLOUR BORDER AROUND TEXT, WITH RED MAPLE LEAF AND GREEN BANNER IN UPPER LEFT CORNER WITH WHITE TEXT “2017; LETHBRIDGE CELEBRATES CANADA 150; WWW.LETHBRIDGE.CA/CANADA150”. BANNER BACKGROUND HIS WHITE AND PRINTED WITH LIGHT GREY ENTERTAINMENT SYMBOLS, INCLUDING GUITAR, KITE, GOLF TEE, SKATER, ETC. UPPER RIGHT CORNER HAS BLUE TEXT “#CANADA150YQL, #GETMOVINGYQL”. TOP OF BANNER HAS MULTICOLOURED CANADA 150 MAPLE LEAF, WITH BLUE TEXT “CANADA 150, LETHBRIDGE CELEBRATES THE SESQUICENTENNIAL!” BANNER HAS IMAGES OF CHILDREN PLAYING IN SPLASH PARK AND SKATING, WITH PINK TEXT ON GREEN TRIANGLE “FREE SWIM”, AND YELLOW TEXT ON BLUE TRIANGLE “FREE SKATE”. BANNER HAS BLUE TEXT BELOW IMAGES “FREE SESQUI SWIMS & SKATES ALL YEAR LONG!” RED TEXT IN THE MIDDLE OF THE BANNER READS “CANADA 150, SATURDAY JULY, 1, 2017; HENDERSON LAKE – LETHBRIDGE; 2 STAGES / FOOD VENDOR HUB/ KIDZONE” WITH RED, WHITE AND BLUE SPEAKER IMAGES ON SIDES OF TEXT. BLUE TEXT BELOW READS “CHECK ONLINE FOR SPECIAL CANADA 150 EVENTS HAPPENING ALL YEAR LONG! WWW.LETHBRIDGE.CA/CANADA150”. LOWER LEFT CORNER OF BANNER HAS IMAGE OF GREEN MOOSE WITH BLUE OUTLINE AND PINK SUNGLASSES, WITH ORANGE TEXT BUBBLE EXTENDED FROM MOOSE WITH BLUE BORDERS AND BLUE TEXT “FOR SO MUCH MORE!” BOTTOM EDGE HAS CITY OF LETHBRIDGE SEAL AND RECREATION AND CULTURE LOGO. RIGHT EDGE HAS TEAR IN VINYL; VINYL IS CREASED FROM FOLDING; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
COMMEMORATIVE
LEISURE
History
ON MARCH 29, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LORI HARASEM AND JENNIE SUDO REGARDING THE CITY OF LETHBRIDGE DONATION OF CANADA 150 MEMORABILIA. HARASEM AND SUDO WERE INVOLVED WITH ORGANIZING THE JULY 1, 2017 EVENTS FOR CANADA 150, WITH SUDO ACTING AS CHAIR FOR THE LETHBRIDGE CANADA DAY COMMITTEE WITH THE CITY OF LETHBRIDGE AND HARASEM AS A MEMBER OF THE COMMITTEE. ON THE BANNER, HARASEM ELABORATED, “THIS WAS A BANNER THAT WE HAD TO PROMOTE, OBVIOUSLY CANADA DAY, BUT WE ALSO HAD IT AT OTHER EVENTS THROUGHOUT THE YEAR TO PROMOTE CANADA DAY. AT THE TOP, IT MENTIONS THE FREE SWIM AND SKATING AS WELL. THE BIGGEST THING FOR US WAS AT THE BOTTOM, THE URL WHERE WE HAD ALL THE INFORMATION, YEAR-ROUND ABOUT WHAT WAS GOING ON WHICH WAS THE LETHBRIDGE.CA/CANADA150. THIS WAS OUR BANNER THAT WENT TO MANY PLACES THROUGHOUT THE YEAR; ANY TRADE SHOWS WE WENT TO, SO THAT PEOPLE WOULD BE AWARE WHERE TO FIND OUT INFORMATION ABOUT CANADA DAY AND OTHER ACTIVITIES THAT WERE GOING ON.” “IT WAS…A POP-UP BANNER THING THAT…YOU JUST PULL UP AND DOWN AS WE NEEDED AND TRANSPORTED AS ONE, ROLLED-UP PIECE AT EVENTS.” “WE MADE THE [ONLY] ONE BUT WE DO HAVE TWO [OTHER BANNERS]. ONE’S THE FREE SWIM AND ONE’S THE FREE SKATE. THESE WERE THE ONES THAT WOULD BE PUT OUT AT THE POOL OR AT THE ARENA THAT WAS HOSTING THAT DAY TO SAY, 'TODAY, FREE SWIM. CANADA 150 CELEBRATION.' THOSE TWO BANNERS WERE EXCLUSIVE JUST TO SWIMMING AND SKATING. THIS ONE WENT TO ALL ACROSS THE COMMUNITY, ALL YEAR-LONG.” “ERIC SHARP…DESIGNED ALL OF THE BANNERS, ALL THREE.” “THEY WERE ALL DONE LOCALLY, AND WE USE THEM A LOT BECAUSE THEY LET US TRANSITION OUT THE BASE, SO WE CAN RE-USE BASES AND WE NEED TO SAVE MONEY…SIGN SUPERSTORE…CREATED ALL THREE.” HARASEM AND SUDO RECALLED THEIR TIME PLANNING AND ORGANIZING THE 2017 EVENTS, WITH SUDO NOTING ABOUT THE PLANNING COMMITTEE, “THE LETHBRIDGE CANADA-DAY COMMITTEE IS A COMMITTEE THAT’S MADE UP OF CITY OF LETHBRIDGE EMPLOYEES IN PART WITH COMMUNITY VOLUNTEERS. MY POSITION AS THE COORDINATOR OF RECREATION AND CULTURE, I AM AUTOMATICALLY VOLUNTEERED FOR THIS COMMITTEE ALONG WITH OUR RECREATION AND CULTURE TEAM. THE CHAIRING RESPONSIBILITIES FOR THAT COMMITTEE GET ROTATED BETWEEN OUR TEAM MEMBERS EVERY TWO YEARS AND MY YEAR JUST SO HAPPENED TO FALL ON THIS VERY IMPORTANT, NOSTALGIC YEAR FOR CANADA’S 150.” “[THE COMMITTEE IS] ALWAYS IN EXISTENCE. I THINK [THERE] WAS A LOT OF PRESSURE, BUT REALLY GREAT PRESSURE. I WAS VERY PROUD TO BE ABLE TO BE PART OF THE COMMITTEE. AND BEING ABLE TO LEAD THE TEAM FOR MY VERY FIRST TURN AT CHAIRING THE COMMITTEE. I FELT A LOT OF PRIDE TO BE ABLE TO SHOW THAT OUR COMMUNITY CAN COME TOGETHER AND CELEBRATE CANADA’S 150.” “[THE] COMMITTEE [WAS] COMPRISED OF THE RECREATION AND CULTURE TEAM, WHICH WAS TWO MANAGERS, LORI HARASEM AND JASON FREUND, MYSELF AS THE CHAIR FOR [2017]. WE ALSO [HAD] MARLENE LAPOINTE, SARAH BURTON, SCOTT CARPENTER AND ONE OF OUR TEMPORARY EMPLOYEES, ERIC SHARP, [AS] PART OF THE COMMITTEE AS FAR AS THE CITY OF LETHBRIDGE SIDE GOES. WE ALSO HAD THREE PUBLIC VOLUNTEERS FROM THE COMMUNITY. WE HAD ADELLE HARRINGTON, BOBBY MCCALLUM AND DAVID FRITZ WHO ALSO PLAYED A HUGE ROLE IN HELPING COORDINATE SOME OF THE ACTIVITIES THERE.” “AS SOON AS CANADA DAY 2016 ENDED, WE WERE ALREADY THINKING ABOUT WHAT WE WERE GOING TO BRING BACK, WHAT KIND OF BUDGET WE WERE GOING TO NEED, WHAT KIND OF ACTIVITIES WE WERE GOING TO HAVE, HOW WE WERE GOING TO MAKE IT SPECIAL, AND MAKE IT STAND OUT THE NEXT YEAR…FOR THE REST OF THE CANADA DAY [EVENTS], THE ONES THAT AREN’T CANADA 150 OR STAND-OUT, WE WOULD PROBABLY ONLY START [PLANNING] ABOUT SIX MONTHS IN ADVANCE. BUT, THE PLANNING PROCESS FOR CANADA DAY, PERIOD, IS QUITE LONG AND STRENUOUS. WE HAVE TO THINK ABOUT SOME PRETTY TIGHT TIMELINES WHEN WE’RE TALKING ABOUT PLANNING AN EVENT THAT BIG. WE DEFINITELY NEEDED THE FULL YEAR TO PLAN CANADA 150.” “CURRENTLY, THE ONLY SPECIAL EVENT THAT THE CITY OF LETHBRIDGE REALLY HOSTS, AS A CORPORATION, IS THE CANADA DAY EVENT. WE RELY ON OUR COMMUNITY GROUPS TO DO MOST OF OUR OTHER SPECIAL EVENTS." ON THE EVENTS PLANNED, HARASEM RECALLED, “IN ALL HONESTY, FOR THE CANADA DAY ACTIVITIES ITSELF, THOUGH I’M ON THE COMMITTEE, I’M NOT AS INVOLVED WITH THAT AS OTHER THINGS THAT I OVERSAW THAT LASTED FROM JANUARY 1ST TO DECEMBER 31ST. SEEING JENNIE AND THE TEAM AND HOW MUCH THEY WORKED…THEY EVEN CHANGED THE LAYOUT AT HENDERSON LAKE THAT HAD BEEN THE SAME WAY FOREVER AND WE HAD TO GO TO SENIOR LEADERS OF THE CITY AND ASK FOR EXTRA MONEY BECAUSE THE BUDGET FOR CANADA DAY HASN’T CHANGED FOR TWELVE OR FIFTEEN YEARS. TO PUT ON SOMETHING THAT WE KNEW THE PUBLIC EXPECTED A LOT [FROM]…[WAS] MY BIGGEST ROLE WITH THE CANADA DAY. IT WAS A HUGE AMOUNT OF WORK AND IT WAS SO SUCCESSFUL, ESPECIALLY ON THE SOCIAL MEDIA SIDE. AT THE CITY, WE’RE USED TO SEEING A LOT OF NEGATIVE COMMENTS. OUR COMMUNICATIONS TEAM HAS SAID THAT THE MOST POSITIVE COMMENTS THEY’VE EVER HAD ON ANYTHING THAT THEY’VE EVER POSTED ON THEIR FACEBOOK WAS AFTER THE CANADA DAY. I THINK THAT THEIR TEAM, JENNIE’S TEAM, DID AMAZING AT MEETING THE EXPECTATIONS OF THE PUBLIC WHICH WERE VERY HIGH.” “I CAME IN [WITH THE COMMUNITY GROUPS ORGANIZING]. WE HAD A GRANT, ‘CANADA 150’. WE HAD EXTRA FUNDING INJECTED INTO OUR BUDGET FOR 2017 [AT] OUR REQUEST, SO THAT WE COULD HELP LOCAL GROUPS THAT WERE ALREADY DOING EVENTS TO THEME IT AROUND CANADA 150. NORMALLY, THE CITY’S RULES IS YOU CAN ONLY GET ONE GRANT FOR ANY EVENT, EVEN THOUGH THERE’S MULTIPLE GRANTS AVAILABLE. BUT, FOR CANADA 150, WE ALLOWED GROUPS TO GET THEIR NORMAL GRANT, AND WE ALLOWED THEM TO ASK FOR UP TO $750 EXTRA, AND THAT WOULD ALLOW THEM TO THEN THEME THEIR EVENT. WE DIDN’T CARE HOW THEY DID THAT. IF THEY WANTED TO USE $750 TO BUY RED AND WHITE CUPCAKES AND BALLOONS [THEY COULD]. WE HAD [AT THE] JAPANESE GARDEN A HUNDRED AND FIFTY JAPANESE DANCERS PERFORMING AND THEY BOUGHT SPECIAL RED MATCHING JACKETS WITH THE MONEY THEY GOT. IT WAS OUR WAY OF ENCOURAGING THE COMMUNITY TO CELEBRATE CANADA 150 ALL YEAR-ROUND. BECAUSE ALL WE DO IS CANADA DAY, WE HAD TO FIND A WAY TO HELP THE COMMUNITY CELEBRATE CANADA 150 AND TO PUT IT IN THE PUBLIC’S EYES ALL YEAR-ROUND IN ANY WAY WE COULD. WE HAD A LOT OF GROUPS AND A LOT OF EVENTS. THERE WAS THIRTY-EIGHT EVENTS THAT RECEIVED FUNDING OVER THE COURSE OF THE YEAR, SO THERE WAS SOMETHING EVERY MONTH OF THE YEAR.” “DURING 'PRETTY, WITTY AND GAY', WHICH IS AN EVENT THE LGBTQ COMMUNITY PUTS ON IN FEBRUARY/MARCH, THEY USED THEIR FUNDING TO [HAVE] A BIG BULLETIN BOARD WHERE PEOPLE [COULD] WRITE DOWN THEIR THOUGHTS ABOUT WHAT IT WAS LIKE TO BE GAY IN CANADA. AND TO SHARE THEIR FEELINGS ON [BEING GAY IN CANADA] TO CONNECT BECAUSE, OBVIOUSLY, WE’RE A MORE OPEN-MINDED COUNTRY AROUND THAT THAN MOST OF THE WORLD. THAT, TO ME, WAS A REALLY UNIQUE WAY TO CELEBRATE CANADA’S 150TH.” “WE ALSO HAD A SMALL THEATRE GROUP COME TOGETHER, A COLLECTIVE THAT HAD NEVER EXISTED BEFORE. THEY PUT ON A VERY CONTROVERSIAL PLAY ABOUT FORMER PRIME MINISTER STEPHEN HARPER WHICH I WENT TO SEE AND IT WAS PRETTY SMALL. IT WASN’T THIS HUGE PLAY WHICH IS DONE IN CASA IN THE BLACK BOX [THE COMMUNITY ATB ROOM] BUT IT WAS FUNNY. IT WAS VERY CONTROVERSIAL AND WE DID PUT SOME MONEY BEHIND THAT.” “[THERE WAS] UPPER VICTORIA PARK NEIGHBOURS. I HAD SO MANY NEIGHBOUR DAYS. BUT WITH NEIGHBOUR DAY BEING A VERY POPULAR EVENT IN JUNE, AND WE’VE GOT MORE NEIGHBOURHOOD ASSOCIATIONS FORMING, WE REALLY ENCOURAGED THE NEIGHBOURHOODS TO APPLY FOR THE GRANT. MOST OF THE NEIGHBOURHOOD ASSOCIATIONS, AT THIS POINT, THEIR NEIGHBOUR DAY EVENTS ARE PRETTY SMALL, UNDER A HUNDRED PEOPLE. BUT IT’S THE PERFECT PLACE TO CELEBRATE CANADA DAY AND CELEBRATE YOUR NEIGHBOURS. OF COURSE, UPPER VICTORIA PARK IS THE ‘GO BIG OR GO HOME’ NEIGHBOURHOOD ASSOCIATION FOR NEIGHBOUR DAY. IT’S EXCITING WHENEVER WE’RE ABLE TO SUPPORT THE THEME OF THE EVENT IN ANY WAY BECAUSE WE KNOW THAT PEOPLE FROM EVEN OUTSIDE LETHBRIDGE ATTEND THAT EVENT. WE’RE NOT JUST SUPPORTING THE MEMBERS OF UPPER VICTORIA PARK NEIGHBOURHOOD ASSOCIATION WHEN WE SUPPORT SOMETHING, SO IT WAS NEAT TO BE ABLE TO PUT SOME MONEY THERE.” “OF COURSE, WINTER LIGHTS FESTIVAL AT JAPANESE GARDEN IS A VERY NEW EVENT. THIS WAS ONLY ITS SECOND YEAR, EVER. THOUGH IT IS A TRADITIONAL, JAPANESE, CULTURAL WINTER EVENT, WE WERE ABLE TO GIVE THEM SOME FUNDING, TOO, BECAUSE THEY ACTUALLY [HAD] THE FIRST EVENT IN 2017 BECAUSE THEY START IN EARLY DECEMBER AND GO TILL FEBRUARY. THEY WERE THE LAST EVENT, ‘CAUSE THEY WERE ON NEW YEAR’S EVE IN 2017. THAT FESTIVAL, THE FIRST TWO YEARS OF IT, KICKED OFF THE BEGINNING OF CANADA 150 AND ENDED CANADA 150 FOR US. IT WAS NEAT TO HAVE SUCH AN IMPORTANT CULTURAL GROUP AND ATTRACTION IN LETHBRIDGE…BE THE FOCUS OF THAT. THERE WERE EVENTS OF ALL SIZES. WE EVEN HAD THE DOGS THAT [ON] THE LAST DAY OF OPERATIONS [AT WESTMINSTER POOL] IS JUST FOR DOGS. EVEN THE HUMANE SOCIETY GOT MONEY TO [HAVE] DOG CANDIES THAT WERE RED AND WHITE…DOG TREATS DECORATED WITH RED AND WHITE BALLOONS AND RIBBONS. I WENT TO IT AND IT WAS HILARIOUS. THE DOGS [TOOK] OVER THE POOL AND THEY’RE SO HAPPY, IN CELEBRATION OF CANADA’S 150TH.” “WE ALSO HAD FREE SWIMMING AND SKATING THROUGHOUT THE YEAR THAT THE CITY SPONSORED AS A CELEBRATION. THAT WAS BECAUSE WE OBVIOUSLY WANT PEOPLE TO BE ACTIVE AND WE WANT PEOPLE TO USE OUR FACILITIES, AND WE KNOW THAT COSTS CAN BE A BARRIER. EVERY MONTH WE HAD AT LEAST ONE FREE SWIMMING WHERE THE FIRST HUNDRED AND FIFTY PEOPLE WERE FREE. IN THE SUMMER THAT INCLUDED BOTH OF THE OUTDOOR POOLS, HENDERSON AND WESTMINSTER. HENDERSON WAS REALLY POPULAR ‘CAUSE IT’S ONLY SECOND YEAR OF OPERATIONS…IT’S STILL [A] VERY POPULAR PLACE TO GO. THEN, WE HAD FREE SKATING AT ALL OUR ARENAS, INCLUDING THE NEW ATB CENTRE AND WE HAD THOSE AT LEAST [ONCE] A WEEK THROUGHOUT THE WHOLE YEAR. THOUSANDS OF PEOPLE IN LETHBRIDGE GOT TO PARTICIPATE IN SWIMMING OR SKATING FOR FREE AS [PART OF THE] CELEBRATION. AT SOME OF THOSE, WE HANDED OUT LITTLE CANADA FLAGS OR CANADA TATTOOS OR HAD BALLOONS.” ON THE DONATION OF CANADA 150 MATERIALS TO THE MUSEUM, HARASEM NOTED, “I BELIEVE THAT THIS IS IMPORTANT TO GO TO THE GALT BECAUSE I KNOW THAT WHEN WE FIRST REALIZED WE NEEDED TO DO SOMETHING TO CELEBRATE THE 150TH, THE FIRST THING WE DID WAS LOOK BACK TO SEE WHAT HAPPENED AT THE 100TH AND WHAT WE HAD IN THE MUSEUM AND ELSEWHERE IN LETHBRIDGE FOR CELEBRATIONS THAT OCCURRED AT THAT TIME. [WE WERE LOOKING TO] SEE IF THERE WERE THINGS THAT WE COULD MIMIC OR SHOULD KNOW ABOUT. WE USED A LOT OF PHOTOS THROUGH OUR REC AND CULTURE GUIDE FOR THAT YEAR TO REMIND PEOPLE THAT, FIFTY YEARS AGO WAS THE BIG CENTENNIAL. WE THOUGHT THAT WHEN THE 200TH COMES, THAT PEOPLE WOULD PROBABLY BE WANTING TO LOOK BACK TO 2017 TO SEE WHAT HAD HAPPENED.” SUDO ADDED, “I THINK CANADA’S SESQUICENTENNIAL [150TH ANNIVERSARY] WAS VERY IMPORTANT TO REMEMBER BECAUSE FIFTY YEARS IS A LONG TIME AND A LOT HAPPENS IN FIFTY YEARS. IT’S GREAT TO BE ABLE TO LOOK BACK AT ALL OF THE THINGS THAT WE DID FOR CANADA’S SESQUICENTENNIAL AND REMEMBER ALL OF THE HARD WORK, AND THE COMMUNITY COMING TOGETHER AND SHOWING THEIR CANADIAN PRIDE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180006007-GA.
Catalogue Number
P20180006007
Acquisition Date
2018-03
Collection
Museum
Images
Less detail

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