Skip header and navigation

155 records – page 1 of 8.

Date Range From
1899
Date Range To
1968
Material Type
Artifact
Materials
LEATHER, WOOD, METAL
Catalogue Number
P20170010000
  2 images  
Material Type
Artifact
Date Range From
1899
Date Range To
1968
Materials
LEATHER, WOOD, METAL
No. Pieces
12
Height
55.5
Length
28.5
Width
10
Description
A: RIGHT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN METAL NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. N…ON CO. SYRACCUSE N.Y. U.S.A.” THE BOOTS LEATHER IS WORN ON THE TOE AND SCRATCHED ALL OVER. A CUT IN THE LEATHER SITS ABOVE THE TOE. THE STITCHING AT THE BACK OF THE BOOT HAS TORN OPEN AND AT THE TOP OF THE BOOT, NEXT TO THE LEATHER PULL, THE BOOT IS SPLIT NEXT TO THE SEAM. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.5CM, W: 10 CM. CONDITION: GOOD. B: THE TOE-SHAPED PIECE OF THE RIGHT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT-SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “R”. THE VARNISH IS CHIPPED AND DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. C: THE FRONT PIECE OF THE RIGHT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “R”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “R” AND “6 R…”. THE VARNISH IS SCRATCHED AND DENTED, JUST AT THE TOP FRONT EDGE. H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: VERY GOOD. D: THE BACK PIECE OF THE RIGHT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “R”. THE VARNISH IS SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. E: THE MIDDLE PIECE OF THE RIGHT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, MINIMALLY SCRATCHED BUT DENTED AND DIMPLED. DIMENSIONS: H: 44.2 CM, L: 2.2 CM, W: 9 CM. CONDITION: VERY GOOD. F: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “L”. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 55 CM, L: 1.6 CM, W: 8.5 CM. CONDITION: GOOD. G: THE LEFT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN SILVER NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. NETTLET… CO. S…SE N.Y. ...S.A.” THE BOOTS LEATHER IS WORN OVER THE TOP OF THE FOOT, THE SIDE OF THE HEEL, AND SCRATCHED ALL OVER. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.8 CM, W: 9.7 CM. CONDITION: GOOD. H: THE TOE SHAPED PIECE OF THE LEFT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “L”. THE VARNISH IS MINIMALLY DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. I: THE FRONT PIECE OF THE LEFT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “L”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “L” AND “6 LEFT”. THE VARNISH IS SCRATCHED AND DENTED, MOSTLY AT THE TOP FRONT EDGE. DIMENSIONS: H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: GOOD. J: THE BACK PIECE OF THE LEFT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “L”. THE VARNISH IS MINIMALLY SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. K: THE MIDDLE PIECE OF THE LEFT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, SCRATCHED AND WORN IN PLACES. A KNOT IN THE WOOD HAS FALLEN OUT AND LEFT A HOLE IN THE TOP OF THE INSERT. DIMENSIONS: H: 44.3 CM, L: 2.5 CM, W: 9 CM. CONDITION: VERY GOOD. L: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “R” WITH TWO LINES DRAWN OVER IT. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. ON THE LEFT SIDE OF THE INSERT IS A NAIL, THE TOP GRINDED DOWN. DIMENSIONS: H: 55.5 CM, L: 1.9 CM, W: 8.6 CM. CONDITION: GOOD.
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
MILITARY
PROFESSIONS
LEISURE
History
THIS PAIR OF RIDING BOOTS BELONGED TO MURRAY NELSON, THE BROTHER DONOR KATHRYN HINMAN. TO LEARN MORE ABOUT THE HISTORY OF THESE BOOTS AND THEIR OWNER, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HINMAN AT THE MUSEUM ON MARCH 20, 2017. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “THE PREVIOUS OWNER OF THESE BOOTS WAS MY BROTHER, MURRAY [NELSON],” HINMAN BEGAN, “HE PASSED AWAY AT THE END OF NOVEMBER 2015… HE WAS A LOCAL MUSICIAN. HE CAME INTO THE POSSESSION OF THESE BOOTS FROM MY GRANDFATHER, GEORGE S. BROWN, WHO WAS LIEUTENANT COLONEL GEORGE S. BROWN. MY GRANDDAD WAS A GREAT FRIEND OF BRIGADIER GENERAL STEWART. GRANDDAD CAME INTO POSSESSION OF THESE BOOTS AT SOME POINT FROM DR. STEWART AND WHEN MY BROTHER WAS ABOUT EIGHTEEN, MY GRANDFATHER PASSED THEM ON TO HIM.” “[MURRAY DID] TELL ME THAT HE WAS IN THE GARAGE OUT AT THE FARM, WHICH IS ACTUALLY BROWN ROAD JUST OFF THE COUTTS’ HIGHWAY AND THAT WAS WHERE MY GRANDFATHER’S ACREAGE WAS. ON THAT ACREAGE, THERE WAS A GARAGE [AMONG] MANY BUILDINGS. MURRAY HAD SAID GRANDDAD HAD TAKEN HIM INTO THE GARAGE AND WHEN MURRAY EXPRESSED AN INTEREST IN [THE BOOTS THERE] GRANDDAD SAID, ‘YUP, YOU CAN HAVE THEM. THEY WERE GENERAL STEWART’S FROM THE BOER WAR. TAKE GOOD CARE OF THEM.’” “[MY BROTHER] USED TO WEAR THEM PLAYING IN BANDS WHEN HE WAS EIGHTEEN AND UP,” HINMAN CONTINUED, “[THEY WERE] PART OF HIS DRESS CODE… THEY’RE LOVELY BOOTS. THE STORY WAS THAT THEY WERE FROM THE BOER WAR, WHICH PUTS THEM OVER ONE HUNDRED YEARS OLD… [MY BROTHER] PROBABLY ACQUIRED [THESE BOOTS WHEN] MY GRANDFATHER PASSED AWAY IN 1968. MURRAY WOULD HAVE BEEN EIGHTEEN [THAT YEAR]. HE WAS IN HIS ELEMENT PLAYING WITH THE BANDS, EXPERIMENTING WITH ALL DIFFERENT KINDS OF MUSIC [AT THAT TIME]. I REMEMBER HIM LOOKING VERY COOL WEARING THEM. ALTHOUGH THESE ARE A VERY SMALL SIZE, RIGHT? SO I’M SURE THEY WERE A LITTLE PINCHEY.” “[MY BROTHER HAD] LONG HAIR – WELL EVERYBODY HAD LONG HAIR IN THE 60’S AND 70’S. [HE WAS] VERY COOL AND AT THAT POINT TOO MY DAD (BILL NELSON) HAD ACQUIRED A SMALL MGA, BURGUNDY-COLOURED, AND [MY BROTHER] USED TO BOMB AROUND AND GO TO BAND PRACTICE IN THAT. OH YEAH, HE WAS NOTORIOUS,” HINMAN LAUGHED, REMEMBERING. WHEN ASKED ABOUT HER BROTHER, HINMAN REPLIED, “MY BROTHER WAS BORN IN 1950. HE WAS JUST A LITTLE OVER SIXTY-FIVE WHEN HE PASSED AWAY. HE WAS AN ACTIVE MUSIC TEACHER AND LOCAL GUITAR TEACHER IN TOWN. YOU COULD SEE HIM BUSKING ON THE STREETS IN FRONT OF THE PENNY COFFEE HOUSE AND IN FRONT OF ESQUIRE’S COFFEE HOUSE. EVERYBODY KNEW HIM. HE USED TO BUSK AT THE FARMER’S MARKET ON FIFTH STREET ON FIRST FRIDAYS. HE PLAYED IN BANDS FOREVER.” “[HE WAS IN A] ROCK’N ROLL BAND. HE WAS IN SO MANY BANDS OVER THE YEARS AND I DON’T KNOW THE NAMES OF THE EARLY BANDS. ONE OF [THE BANDS HE PLAYED WITH] WAS KRANDEL’S KLOUD MACHINE, ONE OF THEM WAS THE SHAMAN, AND THEN HE MOVED TO VANCOUVER FOR A COUPLE OF YEARS AND PLAYED IN VANCOUVER – UP AND DOWN THE WEST COAST. WHEN HE CAME BACK FROM THE COAST, HE JUST PLAYED EVERYWHERE IN SOUTHERN ALBERTA WITH VARIOUS PEOPLE… ANYWAY HE WAS VERY WELL KNOWN IN THE BAND SCENE AND HE HAD A RECORDING STUDIO. THAT WAS A PASSION. HE CALLED HIS RECORDING STUDIO, AARDVARK RECORDINGS. HE HAD HIS FIRST RECORDING STUDIO IN THE BASEMENT OF KRUEGER’S MUSIC, WHERE HE TAUGHT MUSIC FOR BILL KRUEGER. THEN HE MOVED ALL HIS STUFF OVER AND HE WAS IN THE BASEMENT OF THE TRIANON FOR YEARS TEACHING RECORDING AND THEN HE GOT INVOLVED IN TECHNOLOGY, SO HE STARTED FIXING COMPUTERS AND DID COMPUTER PROGRAMMING. HE KIND OF USED TECHNOLOGY IN THE RECORDING STUDIO. HE HAD THIS HUGE SOUND BOARD WITH ALL THE SWITCHES AND WHATEVER AND HE HAD TONS OF LIKE STACKS OF MACHINES [FOR RECORDING],” HINMAN REMEMBERED. “[MY BROTHER] HAD A REPUTATION,” HINMAN WENT ON, “[PEOPLE WOULD SAY TO ME], ‘OH YOUR MURRAY’S SISTER.’ IT WAS GREAT AND ACTUALLY MY HUSBAND WAS BORN IN CARDSTON AND HE HAD A BAND THAT HE USED TO PLAY IN SOUTHERN ALBERTA WITH. WE HAVE AN ACTUAL RECORDING FROM THE BASEMENT RECORDING STUDIO AT KRUEGER’S, WHEN [MY BROTHER] RECORDED WITH MY HUSBAND’S BAND. IT WAS GREAT.” WHEN ASKED ABOUT THE MUSICAL INFLUENCE WITHIN HER FAMILY, HINMAN EXPLAINED, “MY MOM (MARGARET NELSON) WAS A LOCAL MUSIC TEACHER. SHE WAS A PIANO TEACHER. MY DAD’S MOTHER WAS KATE MARQUIS NELSON, WHO WAS A LOCAL PIANO TEACHER SO [WE HAD INFLUENCE] FROM BOTH ENDS. WE ALL GREW UP IN OUR HOUSEHOLD WITH MUSIC. I HAVE A DEGREE IN MUSIC AND I’M A MUSIC TEACHER AND MY YOUNGER BROTHER, MARK, PLAYS CLASSICAL GUITAR. WE HAD MUSIC EVERYWHERE. I HAVE SOME PICTURES AT HOME OF THE THREE KIDS WITH A DRUM SET AND I’M ON THE KEYBOARD AND MURRAY IS PLAYING GUITAR AND, EVEN A PICTURE OF MY MOM SITTING AT THE DRUMS TAKING PART IN THE MERRIMENT IN OUR BASEMENT.” “MY DAD PLAYED IN THE SYMPHONY. IN FACT, MY MOM AND DAD REVIVED THE SYMPHONY IN THE EARLY ‘60S. SO IT WAS JUST NATURAL FOR MURRAY TO [BE MUSICAL]. HE PLAYED EVERYTHING. HE PLAYED BANJO WITH MUSICAL THEATRE ONE YEAR, AND TAUGHT BANJO. HE THOUGHT THAT HE WAS THE ‘ONLY’ BANJO TEACHER IN LETHBRIDGE. HE [ALSO] THOUGHT THAT HE WAS THE ONLY REAL GOOD GUITARIST TEACHER IN LETHBRIDGE TOO,” HINMAN LAUGHED. “SO ANYWAY,” SHE CONTINUED, “IT WAS A STRUGGLE FINANCIALLY. MUSIC IS NOT AN EASY, AN EASY PROFESSION TO BE IN, A PERFORMING MUSICIAN. HE QUIT HIGH SCHOOL WHEN HE WAS PROBABLY SIXTEEN, BUT IN HIS MID TO LATE TWENTIES, HE FINISHED HIS DIPLOMA AND HE STARTED NURSING AT THE COLLEGE. HE DID PRETTY WELL [THERE], BUT HE DIDN’T DEAL WELL WITH AUTHORITY, SO HE DIDN’T FINISH IT. BUT [THROUGH THAT HE] GOT A LOT OF GOOD PRACTICAL KNOWLEDGE. [AFTERWARDS] PROCEEDED TO PURSUE HIS PASSION, WHICH WAS MUSIC. IN THE LAST FEW YEARS OF HIS LIFE HE FIXED THOSE COMPUTER SIGNS THAT SIT ON THE SIDE OF THE ROAD. HE WOULD FIX THE MOTHER BOARD… HE JUST DID WHAT HE WANTED. HE LIVED IS LIFE HIS WAY.” TO THE QUESTION OF WHY HER GRANDFATHER, GEORGE S. BROWN, RECEIVED THE BOOTS FROM GENERAL JOHN SMITH STEWART, HINMAN ANSWERED, “THE ONLY REASON I CAN THINK OF IS THAT BECAUSE THEY WERE GREAT FRIENDS… [IF GENERAL STEWART PASSED AWAY IN THE 1970S], THAT WOULD HAVE BEEN AFTER MY GRANDFATHER [DIED]. I KNOW THAT THEY WERE INVOLVED IN THE MILITARY STUFF LOCALLY. ELLA STEWART AND MY GRANDMOTHER WERE GREAT FRIENDS. SOMEHOW [THESE BOOTS WERE] JUST PASSED ALONG TO GRANDDAD.” “WHEN MURRAY WAS DIAGNOSED WITH THE CANCER IN JUNE OF 2015, I KNEW THAT THERE WAS SOME ITEMS THAT HE HAD THAT I NEEDED TO RETRIEVE BECAUSE THEY WERE FAMILY HISTORY,” HINMAN REMEMBERED, “[AMONG THOSE TREASURED THINGS WERE] GENERAL STEWART’S BOOTS, SO I RETRIEVED THEM IN JULY… [MURRAY SAID], ‘TAKE THEM. DO WHAT YOU NEED TO DO WITH THEM.’” “[ONE REASON MY BROTHER HELD ON TO THE BOOTS WAS] HE WAS VERY CLOSE TO MY GRANDPARENTS, BECAUSE HE USED TO SPEND A LOT OF TIME OUT AT THE FARM,” HINMAN EXPLAINED, “I THINK THAT HE JUST COULDN’T BRING HIMSELF TO PART WITH THEM, BECAUSE THEY WERE PART OF HIS FAMILY HISTORY. IT WAS A SPECIAL KIND OF THING BECAUSE GRANDDAD HAD ACTUALLY PASSED THEM TO HIM.” MURRAY NELSON’S OBITUARY WAS PUBLISHED ON THE MARTIN BROTHERS FUNERAL CHAPELS WEBSITE. IT STATES, “WILLIAM MURRAY NELSON, AGE 65, PASSED AWAY PEACEFULLY AT THE LETHBRIDGE REGIONAL HOSPITAL ON SUNDAY, NOVEMBER 29, 2015, AFTER A VALIANT BATTLE WITH CANCER. MUSICIAN, PERFORMER, TEACHER, MENTOR, SOUND GUY, RECORDING GUY, VIDEO GUY, COMPUTER GUY, SIGN GUY; HE WAS A MAN WHO LIVED LIFE HIS WAY, ON HIS TERMS, DOING WHAT HE LOVED.” AN ARTICLE PUBLISHED IN THE LETHBRIDGE HERALD ON DECEMBER 9, 2015, SHORTLY AFTER THE MUSICIAN’S DEATH STATES THAT AT A LOCAL MUSIC SHOW, PROMINENT LEHTBRIDGE SONGWRITER, LEEROY STAGGER, BEGAN THE SHOW WITH A TRIBUTE TO NELSON. TO FURTHER UNDERSCORE NELSON’S REPUTATION IN THE CITY, A DECEMBER 23, 2015 ARTICLE TITLED, “2015 WAS A MEMORABLE YEAR FOR CITY MUSIC SCENE,” WRITTEN FOR THE LETHBRIDGE HERALD BY RICHARD AMERY STATED, “LETHBRIDGE SAID GOODBYE TO MURRAY NELSON, WHO PASSED AWAY FROM CANCER THIS YEAR. NELSON WAS ONE OF THE SCENE’S MORE PROMINENT PERFORMERS ON STAGE PERFORMING SOLO AND WITH A VARIETY OF BANDS AS WELL AS BUSKING ON THE STREETS ALL OVER LETHBRIDGE…HIS MEMORY WILL LIVE ON IN THE STUDENTS HE TAUGHT AND THE SOULS HE TOUCHED ON STAGE OR JUST CHATTING AT VARIOUS WATER HOLES.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION AND THE COPIES OF LETHBRIDGE HERALD ARTICLES REFERENCED.
Catalogue Number
P20170010000
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Other Name
BUTTON ACCORDION
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
WOOD, METAL, PLASTIC
Catalogue Number
P20180011000
  2 images  
Material Type
Artifact
Other Name
BUTTON ACCORDION
Date Range From
1920
Date Range To
1930
Materials
WOOD, METAL, PLASTIC
No. Pieces
2
Height
37
Length
36.4
Width
20
Description
A. BUTTON ACCORDION, 37 CM TALL X 36.4 CM LONG X 20 CM WIDE. ACCORDION IS BROWN POLISHED WOOD WITH BLACK AND LIGHT BROWN TRIM; ACCORDION HAS BLACK PLASTIC BELLOWS AND SILVER PLATE OVER THREE ROWS OF WHITE BUTTONS AT SIDE; OPOPSITE END OF ACCORDION HAS FOUR ROWS OF WHITE AND BLACK PLASTIC BUTTONS SET IN SILVER PLATE ABOVE BLACK LEATHER STRAP. TOP OF ACCORDION HAS TWO SILVER BASS/TREBLE SWITCHES. BORDERS AROUND BELLOWS HAVE PEAL/TORTOISE SHELL INLAID. ACCORDION IS MISSING BUTTON FROM FOURTH ROW OF BUTTONS, AND HAS TWO WOODEN SUBSTITUTE BUTTONS IN SECOND AND FOURTH ROWS. FRONT OF ACCORDION HAS WINDOW ABOVE BELLOWS WITH GLASS PLATE OVER WHITE PAPER AND BLACK TEXT “C. DALLAPE, TRENTO (ITALIA)”. ACCORDION HAS FOUR BRASS FEET ON SIDE WITH FOUR ROWS OF BUTTONS. WOOD IS WORN AT HANDLES AND EDGES; METAL PLATES AND ACCENTS HAVE CORROSION. OVERALL VERY GOOD CONDITION. B. BLUE COTTON BAG, 72 CM LONG X 53 CM WIDE. BAG HAS HANDLE ATTACHED TO COVER FLAP; COVER FLAP HAS THREE BUTTON HOLES. BAG HAS TWO BLACK PLASTIC BUTTONS ON FRONT ALONG TOP EDGE. BAG HAS PATCHES STITCHED WITH BLACK THREAD ON FRONT UPPER LEFT CORNER, ON BACK IN THE CENTER OF BAG, AND ON THE BACK BESIDE LEFT CORNER OF HANDLE. BAG IS TORN IN LOWER RIGHT CORNER AND FRAYED; BAG IS TORN ALONG LEFT AND RIGHT EDGES AND ON FRONT AT UPPER RIGHT EDGE; BACK HAS TORN HOLES AT BOTTOM. OVERALL GOOD CONDITION.
Subjects
MUSICAL T&E
Historical Association
HOME ENTERTAINMENT
LEISURE
History
ON MAY 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LESLIE MORTON REGARDING HER DONATION OF A BUTTON ACCORDION. THE ACCORDION WAS OWNED AND PLAYED BY MORTON’S GRANDFATHER, GIUSEPPE (JOSEPH) "FABRO" BRIDAROLLI, AND WAS LATER OWNED BY HER UNCLE, SYLVIO "SYL" BRIDAROLLI, BEFORE BECOMING IN HER POSSESSION. MORTON DISCUSSED HER MEMORIES OF THE ACCORDION IN HER HOME, STATING, “IT’S A BUTTON ACCORDION…THERE’S BUTTON ACCORDIONS AND PIANO ACCORDIONS, AND I PLAY THE PIANO. IF I HAD A PIANO ACCORDION, I COULD AT LEAST PICK OUT THE NOTES BECAUSE I COULD READ THE MUSIC. THIS IS SOMETHING DIFFERENT. YOU HAVE TO BE A REAL MUSICIAN TO PLAY A BUTTON ACCORDION BECAUSE IT IS TOTALLY BY EAR. THERE’S THE MELODY SIDE AND THE CHORD SIDE AND YOU JUST DO IT BY EAR. IF YOU LISTEN TO HIS TAPE [IN ARCHIVES]…HE WAS JUST TURNING 81 WHEN HE MADE THIS TAPE AND HE WAS TRYING TO REMEMBER SOME OF THE SONGS HE KNEW. ONE CAME OUT REALLY GOOD AND THEN HE GOT THE MELODY OF SOMETHING. HE WAS PICKING IT OUT AND HE WAS INTO THINGS HE WAS MORE FAMILIAR WITH. HE WAS VERY MUSICAL AND HAD A REAL EAR. IT’S SORT OF LIKE AN IRISH BUTTON ACCORDION BUT NOT QUITE. IT’S BIGGER.” “WHAT I REMEMBER [MY GRANDPARENTS] TELLING ME IS WHEN HE WAS HERE, HE HAD IT MADE FOR HIM IN ITALY AND IT WAS SENT OVER TO CANADA WHEN HE LIVED HERE. I ALSO UNDERSTOOD HE PLAYED IN ITALY BUT THIS ACCORDION WAS MADE FOR HIM THERE AND SENT OVER [IN THE 1920S].” “IT’S A TREASURE. I WOULD SAY OF ALL THE THINGS I FOUND IN MY PARENTS’ HOME AND ALL THE THINGS I’VE HAD TO FIND HOMES FOR, ALL THE THINGS THAT WOULD REMIND ME OF MY CHILDHOOD, THIS IS THE MOST IMPORTANT THING. EVER. IT EVOKES REALLY STRONG MEMORIES. THERE’S SOMETHING ABOUT MUSIC IN A FAMILY. IF YOU CAN MEET TOGETHER AND YOU CAN SHARE MUSIC, WHICH OUR FAMILY DID, IT LEAVES AN IMPRESSION THAT YOU DON’T EVER FORGET.” “[THE ACCORDION] REALLY WAS FOR MY GRANDFATHER [GIUESEPPE “JOSEPH” BRIDAROLLI]. IT WAS FROM HIM. THAT’S WHERE THE [LOVE OF] MUSIC CAME FROM FOR ALL [MY FAMILY].” “WHEN I WAS A LITTLE GIRL, WE WOULD GO OVER TO [MY GRANDPARENTS’] HOUSE AT 909 - 8TH STREET NORTH, [MY GRANDFATHER] ALWAYS PLAYED. HE’D JUST SIT IN HIS KITCHEN AND HE’D PLAY SOMETHING FOR US. HE WOULD SIT ON A BENCH BY THE BACK DOOR OUTSIDE AND HE WOULD PLAY SOMETHING FOR US. AT CHRISTMAS, MY GRANDPARENTS WOULD COME OVER [TO OUR HOME] AND HE WOULD PLAY THE ACCORDION. MY MOTHER WOULD PLAY THE VIOLIN, MY SISTER THE PIANO. SHE WAS BETTER THAN ME AND WE WOULD ALL SING CAROLS. FOR MY UNCLE IT WOULD BE THE SAME. HE ALWAYS WAS THERE PLAYING HIS ACCORDION. WHEN MY UNCLE AND AUNT CAME TO VISIT, IT WAS THE SAME THING. HE’D PLAY.” ON HER FAMILY’S HISTORY AND CONNECTION TO THE ACCORDION, MORTON ELABORTED, “[MY GRANDFATHER] STOPPED WORKING IN THE MINES IN THE FIFTIES. HE WAS STILL DOING IT IN THE FIFTIES. WHEN THEY CAME OVER FOR SUNDAY DINNER OR WE WENT OVER THERE [MY GRANDFATHER WOULD PLAY]. [WHEN] MY GRANDMOTHER WAS WELL ENOUGH, WE WOULD ALTERNATE [HOMES FOR DINNERS]. THEN WHEN IT GOT HARDER FOR HER [SUNDAY DINNER] WAS ALWAYS IN OUR HOME. I MADE A TAPE WHEN MY PARENTS WENT TO INDIA IN 1971, AND THAT’S WHEN MY UNCLE GOT MARRIED AS WELL. WE CORRESPONDED BY CASSETTE TAPE. THAT SOUNDS VERY ANTIQUATED NOWADAYS. THERE WAS NO EMAIL. PHONES WERE DIFFICULT WHEN YOU TRIED TO PHONE INDIA AND [WE] HAD TO YELL INTO THE PHONE. SO WE DECIDED TO MAKE CASSETTE TAPES…I WENT DOWN SEPTEMBER THE 5TH, 1971…AND I HAD HIM PLAY THE ACCORDION SO THAT I COULD SEND THIS TAPE TO MY PARENTS. [THIS TAPE HAS] HIS VOICE A LITTLE BIT IN THE BACKGROUND AND MINE A TINY BIT BUT IT’S HIS MUSIC THAT’S IMPORTANT. IT WAS SENT OVER TO INDIA FOR THEM AND WE’VE KEPT IT EVER SINCE. HE DIED IN ’72 AND WE PLAYED THAT ACCORDION TAPE A HUNDRED MILLION TIMES. MY UNCLE ALSO HAD ONE OF COURSE. HE WAS ALWAYS PLAYING. MY MOTHER TELLS A STORY, ALTHOUGH IT’S NOT A FAMILY ONE BUT SHE SAID THAT FRIENDS OF HIS, WHEN IT WAS THEIR BIRTHDAY, HE WOULD GO OVER SIT UNDER THEIR WINDOW AND HE WOULD PLAY THE ACCORDION. HE WOULD PLAY AT GATHERINGS OF THE ITALIAN COMMUNITY. HE PLAYED AT DANCES.” “MY GRANDFATHER WAS BORN SEPTEMBER 7TH 1890 AND MY GRANDMOTHER [MARIA BERTE] WAS JANUARY 9TH, 1893. THEY WERE FROM CAVENDINE, ITALY, WHICH IS IN THE PROVINCE OF TRENTO AND THAT’S WHERE THIS ACCORDION WAS MANUFACTURED…THEY WERE VERY POOR OVER THERE…I FOUND A PAPER IN THE MIDDLE OF THE FAMILY DOCUMENTS THAT, I DON’T SPEAK ITALIAN, BUT IT LOOKED LIKE A POVERTY DOCUMENT THAT HAS MY GRANDFATHER—HIS FATHER’S NAME ON IT. THEY WERE VERY POOR AND THEY WOULD HAVE COME HERE TO MAKE A BETTER LIFE FOR HIS FAMILY.” “I UNDERSTAND THAT MY GRANDFATHER CAME OVER BY HIMSELF PRIOR TO 1920. HE WAS IN LETHBRIDGE AND SIZED THINGS UP. HE WENT BACK TO ITALY AND GOT MARRIED TO MY GRANDMOTHER IN 1920. MY MOTHER WAS BORN OVER THERE. IT WAS 1924, IN OCTOBER WHEN HE BROUGHT HIS WIFE AND HIS YOUNG DAUGHTER, ANN, OVER. THEY CAME ON A BOAT AND LANDED IN THE MARITIMES, AND THEY MADE THEIR WAY TO LETHBRIDGE. THEY STARTED IN COALHURST FOR A SHORT WHILE…AND THEN THEY MOVED TO LETHBRIDGE. MY UNCLE WAS BORN HERE IN 1926.” “I CAN GUESS [MY GRANDPARENTS MOVED TO SOUTHERN ALBERTA] BECAUSE [OF] MILLIE LUCIANI—THERE WERE BERTE FAMILIES HERE AND MY GRANDMOTHER WAS A BERTE. MILLIE LUCICANI’S FATHER[WAS A BERTE AND HE WAS A COUSIN OF MY [GRAND]MOTHER] … THERE WAS COMMUNICATION THERE THAT THIS WAS THE PLACE TO COME BECAUSE THEY WERE ALREADY HERE.” “WHEN MY GRANDFATHER DIED IN 1972, I HAD THIS ACCORDION AND THEN, AT A CERTAIN POINT I GAVE IT TO MY UNCLE, HIS SON, SYL. HE HAD IT IN FERNIE THEN IN MERRITT. HE DIED IN 2011 AND MY AUNT SENT IT TO ME. WE TALKED ABOUT LEAVING IT TO THE MUSEUM BUT I DIDN’T WANT TO LET GO OF IT YET. WHAT HAS SPURRED IT ON IS THAT THERE IS NOBODY ELSE TO PASS IT ON TO.” “I WAS GIVEN THIS BECAUSE, WHEN I WAS A LITTLE GIRL I JUST LOVED IT. HE PLAYED AND I LOVED IT. MY UNCLE LOVED IT TOO, HE DIDN’T LIVE HERE AND BECAUSE IT WAS EASY AND MY PARENTS HAD TO LEAVE FOR INDIA, I GOT IT TEMPORARILY. IT DID BELONG MORE TO MY MOM AND MY UNCLE THAN TO ME, BUT I HAD IT FIRST FOR QUITE A WHILE.” “MY SISTER AND I WERE TALKING AND WE THOUGHT, WELL REALLY IT WAS MORE [OUR UNCLE’S] THAN OURS. THAT’S WHY [I GAVE IT TO HIM]. BY GOING TO ME IT WENT TO MY MOM AND SHE WAS THE ELDEST. BUT WHEN MY MOTHER WAS GETTING REALLY SICK AND HE WAS COMING TO VISIT HER AND SHE WASN’T GOING TO LIVE, THEN IT WAS REALLY IMPORTANT THAT IT GO TO THE NEXT PERSON WHICH REALLY WOULD BE MY UNCLE. WE THOUGHT IT WAS THE RIGHT THING AND HE WAS ENCHANTED. IT WAS REALLY HIS AT THAT POINT.” “I WANTED TO LEARN HOW TO PLAY IT SO I TRIED, BUT I HAD ARTHRITIS IN MY SHOULDERS SO I COULDN’T. I WOULD TAKE [IT] OUT EVERY ONCE IN A WHILE AND TRY TO PLAY “SILENT NIGHT”. I JUST TOOK IT WHEREVER I WENT AND TRIED TO LOOK AFTER IT.” “IT WOULD BE [ONE OF THE MOST IMPORTANT THINGS IN MY HOME] AND I’M SURE FOR MY UNCLE TOO. PICTURES ARE REALLY IMPORTANT TO OUR FAMILY AND TO ME. I KNOW TO MY UNCLE SYL AS WELL THIS WOULD BE [IMPORTANT] BECAUSE WE ALL REMEMBERED [MY GRANDFATHER] PLAYING ALL THE TIME. HE NEVER SAT DOWN WITHOUT IT ON HIS LAP. TO MY UNCLE IT WOULD BE EVEN STRONGER BECAUSE, OF COURSE, HE GREW UP WITH HIS FATHER PLAYING THE ACCORDION.” “MY GRANDPARENTS HAD TWO CHILDREN, MY MOTHER ANN, AND HER BROTHER SYL. SYL NEVER HAD ANY CHILDREN, THEY ADOPTED A GIRL ONCE BUT THAT WAS LONG AGO [AND] SHE’S OUT OF THE PICTURE. THERE’S MY AUNT, HIS WIFE, AND THERE’S ME. MY PARENTS HAVE PASSED AWAY AND MY SISTER, LAUREL, PASSED AWAY IN 2009 IN GENEVA. IF SOMETHING HAPPENS TO ME, THERE IS ABSOLUTELY NO WAY THIS BRIDAROLLI FAMILY WILL CARRY ON. THE ANDERSON FAMILY [MY FATHER’S FAMILY] THERE WERE EIGHT OF THEM. THERE’S NOBODY ELSE. THERE’S ME AND I FEEL A LITTLE RESPONSIBILITY TO MAKE SURE IT’S POSSIBLE THAT THE JOSEPH BRIDAROLLI FAMILY IS IN SOME WAY REMEMBERED. MY GRANDFATHER WAS A COAL MINER IN LETHBRIDGE AND HE ALSO WAS A PART OF THE ITALIAN COMMUNITY AND THEY WEREN’T RICH; THEY WEREN’T POWERFUL. THEY DIDN’T HOLD POSITIONS BUT I THINK THEIR STORY IS VERY IMPORTANT AS IMMIGRANTS FROM ITALY AND I’D LIKE TO TELL THEIR STORY. THAT’S THE REASON I BROUGHT IT. I THINK IT WOULD BE REALLY IMPORTANT THAT IN SOME WAY IT IS PERPETUATED BOTH FOR MY UNCLE AND MY MOTHER AS WELL AS HER PARENTS.” FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180011000-GA.
Catalogue Number
P20180011000
Acquisition Date
2018-05
Collection
Museum
Images
Less detail
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Material Type
Artifact
Materials
PLYWOOD, PAINT
Catalogue Number
P20110031021
  2 images  
Material Type
Artifact
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Materials
PLYWOOD, PAINT
No. Pieces
5
Height
303.5
Length
114.3
Description
STAGE PERFORMANCE BORDER, IN FIVE PANEL PIECES. .001 TOP CENTRE PANEL. RECTANGULAR. VERY THIN PLYWOOD. GREEN BACKGROUND WITH PINK/RED FLOWERS. TWO FLAGS IN THE CENTRE: THE KUOMINTANG/NATIONAL LEAGUE FLAG IS ON THE LEFT (NAVY BLUE WITH A GOLDEN YELLOW SUN IN THE MIDDLE) AND THE FLAG OF THE REPUBLIC OF CHINA IS ON THE RIGHT (RED BODY, WITH A NAVY BLUE RECTANGLE IN THE TOP LEFT CORNER AND A GOLDEN YELLOW SUN IN THE MIDDLE OF THIS NAVY SECTION). BETWEEN THE FLAGS IS A NAVY BLUE, ROUGHLY OCTAGON SHAPE, WITH ANOTHER GOLDEN YELLOW SUN IN THE CENTRE. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. ON THE FAR RIGHT SIDE OF THE PANEL IS A SMALL RECTANGULAR PIECE, ATTACHED WITH WIRE, ROUGHLY 19CM X 7.6CM. PANEL IS 241.6CM X 47.6CM POOR TO FAIR CONDITION. PANEL IS WELL WORN, THE COLOURS ARE FADED, AND THE PAINT IS CHIPPED IN SEVERAL SPOTS. .002 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE RIGHT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. A SMALL PINK/RED FLOWER ON A GREEN VINE IS VISIBLE ON THE COLUMN. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 200.7CM X 56.2CM POOR TO FAIR CONDITION. PAINT SCRATCHED OFF, ESPECIALLY ON THE RIGHT SIDE OF THE GREEN FLOWER SECTION. NOT AS FADED OR AS WORN AS .001. TAPE REMNANTS IN THE GREEN SECTION TO THE RIGHT OF COLUMNS. .003 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE LEFT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 243.2CM X 55.2CM POOR TO FAIR CONDITION. TAN PAINT ALONG THE BOTTOM, OVER THE GREEN SECTION, IN SEVERAL AREAS. THE NAVY BLUE SECTION HAS A LOT OF HAIRLINE CRACKS IN THE PAINT. .004 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE LEFT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE RIGHT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR RIGHT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. IN WORSE CONDITION THAN .005. LOTS OF LITTLE HOLES, ESPECIALLY ON THE NAVY CURTAIN. LOTS OF WALL PAINT FLECKS, ESPECIALLY ON THE COLUMNS. THE BLUE VERTICAL RECTANGLE IS MORE GREEN THAN ON .005 AND THE PAINT IS VERY, VERY WORN. .005 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE RIGHT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE LEFT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. BELOW THIS BLUE RECTANGLE, ON THE NAVY CURTAIN, ARE SEVERAL CHINESE CHARACTERS ON A DIAGONAL, PAINTED ON IN RED. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR LEFT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. LOTS OF CHIPPED PAINT. PANEL IS FADED/DISCOLOURED. BOTTOM BACK IS IN ESPECIALLY POOR CONDITION AND IS VERY DIRTY.
Subjects
PUBLIC ENTERTAINMENT DEVICE
Historical Association
ASSOCIATIONS
FINE ARTS
LEISURE
History
THE FOLLOWING INFORMATION ABOUT THIS ARTIFACT COMES FROM INTERVIEWS HELD WITH MAY LEE AND JUDY CHAN, RICHARD LOO, AND HONG WONG AND JANICE WONG. PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG THEIR IMMIGRATION TO CANADA ARE FOUND BELOW THE ARTIFACT DETAILS AND BELOW THE INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY BUILDING. MAY RECALLED THAT THERE WERE OPERAS AT THE SOCIETY BUILDING, BUT THAT THEY DIDN’T COME VERY OFTEN. SHE DIDN’T RECALL ATTENDING MANY OPERAS, BUT DID REMEMBER THAT “HONG WONG WAS SINGING THERE.” RICHARD, MEANWHILE, THOUGHT THAT THE OPERAS WERE FINISHED BEFORE HE ARRIVED IN LETHBRIDGE. HE NEVER SAW AN OPERA PRODUCTION AT THE SOCIETY BUILDING, BUT DID RECALL THAT PROJECTION FILMS WERE SHOWN. RICHARD SUGGESTED “ASK HONG. HE LIKED A LITTLE BIT OF OPERA TOO … HE SANG IN STUFF LIKE THAT.” HONG INDICATED THAT THERE WAS NO OPERAS AT THE SOCIETY BUILDING WHEN HE CAME IN 1951, BUT THAT THE SOCIETY DID STAGE PRODUCTIONS AT THE UNIVERSITY. ASKED WHERE THE COSTUMES CAME FROM, HONG SAID “WE GOT THEM FROM CALGARY AT THAT TIME, WELL, ACTUALLY WE JUST BORROWED THEM. WE DIDN’T HAVE THE MONEY TO BUY THEM.” HONG CONTINUED SAYING THAT THIS STAGE PERFORMANCE BORDER WAS USED IN CONJUNCTION WITH A LARGE MURAL (SEE P20010027000) AND A STAGE. A SERIES OF ARTICLES PUBLISHED IN THE LETHBRIDGE HERALD GIVE BACKGROUND INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY AND ITS BUILDING: THE BUILDING THAT HOUSED THE CHINESE NATIONAL LEAGUE SOCIETY WAS BUILT IN 1909-1910 IN THE 300 BLOCK OF 2 AVENUE SOUTH AND IT WAS ORIGINALLY A RESTAURANT. BY 1915 IT HAD BECOME THE HEADQUARTERS FOR THE LETHBRIDGE BRANCH OF THE KAO MIN TANG (ALTERNATIVE SPELLINGS INCLUDE KUOMINTANG, KUO MIN TANG, GUOMINDANG, AND GUO MIN DANG). THE BUILDING WAS DESIGNATED AS A PROVINCIAL HERITAGE RESOURCE IN 1995 BECAUSE OF ITS VALUE AS A SOCIAL AND CULTURAL CENTRE FOR THE LETHBRIDGE CHINESE COMMUNITY. THE BUILDING WAS USED IN A VARIETY OF WAYS BY THE SOCIETY AND INCLUDED, AT VARIOUS TIMES, A RESTAURANT, A SCHOOL, AND LIVING ACCOMODATIONS. IN FEBRUARY 2011 A SECTION OF THE BRICK FAÇADE FELL OFF THE BUILDING AND CITY INSPECTORS DETERMINED THAT THE TIMBER AND RED BRICK STRUCTURE WAS POTENTIALLY UNSTABLE. THE BUILDING WAS TORN DOWN A SHORT TIME LATER. LETHBRIDGE'S CHINATOWN EMERGED IN 1901, A RESULT OF THE CHINESE POPULATION BEING RELEGATED TO A SECTION OF THE CITY BETWEEN GALT GARDENS AND THE COULEES. IN A JANUARY 7, 2002 ARTICLE ALBERT LEONG EXPLAINS THAT NO ONE REALLY WANTED CHINESE PEOPLE AROUND AND THAT “’ THEY WERE TOLD THAT THE ONLY PLACE THEY COULD START BUSINESSES WAS BETWEEN THE COULEES AT THE PARK, BECAUSE THE CITY DIDN’T WANT ANY COMPETITION FOR THE WHITE BUSINESSMEN … BUT ‘GHETTO-IZED’ OR NOT, THE CHINESE WHO CAME TO LETHBRIDGE FORMED AN IMPORTANT PART OF THE BACKBONE OF THIS CITY, [AND MADE] NOTEWORTHY [CONTRIBUTIONS] TO THE HISTORY OF THIS PLACE.’” BUSINESSES SUCH AS LAUNDRIES, MARKET GARDENS, AND RESTAURANTS WERE OPENED IN CHINATOWN, WITH THE RESIDENTS LIVING IN ROOMS ABOVE THE BUSINESSES. IN 1912 THERE WERE ABOUT 100 PEOPLE LIVING IN CHINATOWN AND BY THE 1930S, IT WAS A BUSTLING COMMUNITY. THE POPULATION OF CHINATOWN DWINDLED FOLLOWING THE SECOND WORLD WAR. JANICE WONG, PRESIDENT OF THE SOCIETY IN 2015, GAVE THE FOLLOWING INFORMATION ABOUT THE SOCIETY IN AN INTERVIEW: AS OF 2015, THE SOCIETY EXISTS MORE AS A SOCIAL CLUB AND THE SOCIETY HOLDS THREE CELEBRATORY DINNERS EACH YEAR, USUALLY HELD AT THE NEW DYNASTY RESTAURANT. THE SOCIETY ALSO VISITS THE CEMETERY ON A YEARLY BASIS “TO HONOUR THE ANCESTORS, CLEAN THE TOMBS, BRING FOOD, DO THE USUAL THINGS THAT WE USED TO DO – EAT ON GRAVES, BURN THE INCENSE. WE DO THAT EVERY YEAR STILL TO HONOUR OUR ANCESTORS. IT IS USUALLY IN THE SPRING … IN APRIL.” JANICE BRIEFLY DISCUSSED THE FUTURE OF THE SOCIETY, INDICATING THAT THERE IS SOME TALK ABOUT RE-BUILDING “BUT THAT INVOLVES A LOT OF PLANNING, AND MONEY, AND FUNDRAISING” AND SHE QUESTIONS WHETHER OR NOT THERE IS ENOUGH OF A MEMBERSHIP BASE TO GO FORWARD WITH RE-BUILDING. SHE ALSO EXPLAINED THAT PREVIOUS CHINESE IMMIGRANTS HAD TENDED TO COME FROM THE SAME GEOGRAPHIC REGION, BUT THAT PRESENTLY IMMIGRANTS ARE COMING FROM ALL OVER CHINA: “THERE’S A LOT OF INFLUX OF PEOPLE FROM CHINA THAT AREN’T FROM THE SAME AREA, BECAUSE TRADITIONALLY, THE PEOPLE WERE ALL FROM THE SAME AREA AND SPOKE THE SAME DIALECT AND HAD THAT SORT OF THING KEEPING THEM TOGETHER AS A COMMUNITY OVERSEAS FROM CHINA.” PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG AND THEIR IMMIGRATION TO CANADA ARE BELOW: MAY LEE: MAY WAS ACTUALLY BORN IN CANADA AND IS KNOWN AS A GOLD MOUNTAIN GIRL, BECAUSE SHE IS A CANADIAN-BORN CHINESE WOMAN. MAY EXPLAINS: “I WAS BORN IN CANADA. I WAS BORN IN NANOOSE BAY. WHEN I WAS 4 YEARS OLD, WE MOVED TO VICTORIA. WHEN I WAS 9 YEARS OLD AND THE WHOLE FAMILY, IN 1930, GO BACK TO CHINA.” DURING THE WAR, THE JAPANESE BOMBED THE GIRLS’ HIGH SCHOOL IN TOCSIN CITY AND MAY’S MOTHER DECIDED TO SEND MAY AND HER BROTHER TO HONG KONG TO START THE PROCESS OF COMING TO CANADA. MAY STARTED ENGLISH SCHOOL IN HONG KONG, BUT OFTEN MISSED CLASSES BECAUSE SHE WAS SICK FROM THE HEAT. SHE SAYS THAT SHE’S LEARNED MOST OF HER ENGLISH FROM HER HUSBAND, HER CHILDREN, GRANDCHILDREN, AND EVEN GREAT-GRANDCHILDREN. SHE WAS MARRIED TO HOM MEN LEE, AKA JIMMY LEE, ON NOVEMBER 16, 1938 IN VICTORIA, BC. JIMMY WAS BORN IN LETHBRIDGE AT THE GALT HOSPITAL, BUT WAS SENT BACK TO CHINA AS A CHILD FOR HIS EDUCATION. JIMMY’S FAMILY HAD COME TO LETHBRIDGE IN 1914 AND OWNED LEE-DUC CLEANERS. THE LEE FAMILY LIVED ABOVE THE SHOP, WHICH WAS ON 13TH STREET NORTH, NEAR HIGA’S JEWELERS. MAY’S MAIN MEMORY OF CHINATOWN: “ALL I REMEMBER IN CHINATOWN, IN SUMMERTIME, LOTS OF OLD GUYS SITTING IN FRONT OF GUOMINDANG. AUNTIE HELEN GREW UP IN CHINATOWN. I THINK SHE KNOWS MORE ABOUT CHINATOWN. IN THE OLDEN DAYS, I HARDLY GO OUT, JUST TO BUY GROCERIES.” JUDY ADDED THAT MAY HAD 8 CHILDREN AND WAS KEPT BUSY AT HOME RAISING THEM. RICHARD LOO: RICHARD ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. RICHARD’S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO RICHARD, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). RICHARD’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED RICHARD TO MOVE TO LETHBRIDGE AS WELL. RICHARD LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE FINALLY ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT RICHARD WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, RICHARD RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY NOTHING. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL YOU COULD SAY, JUST ANYWAYS HOW TO SAY ‘HELLO’ – SO, ANYWAY, SO IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” RICHARD INITIALLY LIVED IN THE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. RICHARD RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. HONG WONG: HONG ARRIVED IN LETHBRIDGE IN 1951 AND WAS INVITED TO THE CITY BY HIS UNCLE SHUEY WONG, WHO WAS ALREADY LIVING HERE. UNCLE SHUEY HAD COME TO CANADA SEVERAL YEARS BEFORE AND HAD HAD TO PAY THE $500 HEAD TAX. HONG TRAVELED WITH HIS BROTHER FROM MAINLAND CHINA TO HONG KONG, IN ORDER TO GO TO THE CANADIAN EMBASSY. ON HIS FERRY RIDE TO HONG KONG, HE WAS SHOT BY BANDITS AND WAS REQUIRED TO STAY IN THE HOSPITAL FOR QUITE SOME TIME TO RECOVER. HIS BROTHER ELECTED TO REMAIN IN HONG KONG, AS HIS MOTHER-IN-LAW LIVED IN THE CITY AND GOT HONG’S BROTHER WORK IN A THEATRE. TO GET TO CANADA, HONG FLEW FROM JAPAN TO GUAM, TO VANCOUVER, AND THEN FINALLY TO LETHBRIDGE. HIS FIRST IMPRESSION OF LETHBRIDGE: COLD. HONG SAID: “’WELL, IN HONG KONG IT WAS AROUND MAYBE 20 SOME 30 ABOVE. AND HERE, AT THAT TIME, MAYBE 20 BELOW, OR 20 SOME BELOW. I DIDN’T HAVE THE EAR MUFFS. I SAID, ‘GEE, I’M NOT SO HAPPY HERE, IT SEEMS SO COLD.’” UNCLE SHUEY TOLD HONG THAT IT WAS ONE OF THE COLDEST WINTERS HE COULD REMEMBER. HONG WORKED FOR HIS UNCLE IN HIS SHOP ON 9TH AVENUE, DOING CHORES AROUND THE STORE, UNTIL HIS ENGLISH HAD IMPROVED ENOUGH SO THAT HE COULD SERVE CUSTOMERS. HE JOINED THE CHINESE NATIONALIST LEAGUE SOCIETY ALMOST AS SOON AS HE ARRIVED: “WHEN I CAME HERE, I JOINED IN THE SAME YEAR BECAUSE MY UNCLE WAS A MEMBER. SO THAT’S WHY HE GOT ME IN TO BE A MEMBER. OH, AT THAT TIME, I BET, 95% OF THE CHINESE PEOPLE THEY BELONG TO THE CHINESE NATIONAL LEAGUE, I BELIEVE.” HE CONTINUED, SAYING THAT YOU COULDN’T BE A MEMBER OF BOTH THE SOCIETY AND THE MASONS, AND HE BELIEVES ABOUT 5% OF THE CITY’S CHINESE POPULATION WOULD HAVE BELONGED TO THE MASONS. HE ADDED: “BUT WE ARE STILL FRIENDS, STILL FRIENDS. WE’RE NOT ENEMY OR ANYTHING BUT, IT’S JUST THAT THE ORGANIZATIONS ARE DIFFERENT. THAT’S ALL.” HONG ENJOYED THE CAMARADERIE OF THE SOCIETY. HE SAID: “I REMEMBER, I LIKE IT BECAUSE THEY HAVE THE PARTY AND SO MANY PEOPLE. AND THEN YOU MEET ALL THE CHINESE PEOPLE THERE IN THE ONE GROUP. WELL, ANYWAY, WHEN YOU SEE SO MANY PEOPLE IN ONE PARTY, AND THEN WHEN THEY COME OUT MOSTLY THE PEOPLE THAT PARTY AND IT FEELS LIKE A LOTS OF FRIENDS OR EVEN LIKE THE FAMILY. SO YOU FEEL GOOD, YOU FEEL BETTER, AND THEN, WELL, MY UNCLE BELONGS THERE TOO AND THEN THE OTHERS BELONG THERE TOO, YEAH, EVERYBODY LIKE IN THE BIG FAMILY. YES, NICE, OTHERWISE YOU DON’T HAVE ANY FRIENDS, YOU DON’T MEET ANYBODY, IF YOU NOT BELONG THERE, I THINK NOT SO FRIENDLY TO YOU.” HONG INDICATED THAT WHEN A SPECIAL MEAL WAS HELD AT THE SOCIETY, IT WAS THE MEN WHO DID THE COOKING: “AT THAT TIME JUST ABOUT EVERYBODY KNOWS HOW TO COOK BECAUSE MOSTLY WE WORK IN THE KITCHEN WHEN THEY CAME HERE.” HE SAID THAT DINERS WOULD PAY A SMALL FEE TO EAT AT THE LEAGUE WHEN SPECIAL MEALS WERE PUT ON. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES AND FOR INTERVIEW TRANSCRIPTS.
Catalogue Number
P20110031021
Acquisition Date
2011-11
Collection
Museum
Images
Less detail
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Material Type
Artifact
Materials
PORCELAIN
Catalogue Number
P20150016001
  1 image  
Material Type
Artifact
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Materials
PORCELAIN
No. Pieces
1
Height
6
Diameter
21.5
Description
CHINA BOWL WITH AN IRREGULAR RIM THAT EXTENDS A FLORAL PETAL MOTIF ALONG BOWL’S INSIDE EDGE. CENTRE FEATURES COUNTRY LANDSCAPE INCLUDING A COTTAGE, SURROUNDED BY STAMP MARK IN GOLD STENCIL AND SCRIPT, “COMPLIMENTS OF N. F. SUPINA”. GOOD TO VERY GOOD CONDITION. SLIGHT CRACKING IN THE BOTTOM. THE BASE IS SCUFFED AND DIRTY. THERE ARE SOME MARKS ON THE OUTSIDE EDGE.
Subjects
FURNITURE
Historical Association
BUSINESS
COMMEMORATIVE
DOMESTIC
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING HORHOZER AND HER FAMILY. THIS BOWL IS A REMINDER OF THE STORE THAT WAS AN INTEGRAL PART OF LIFE IN THE SUPINA FAMILY. HORHOZER REMEMBERS: “MY DAD ALWAYS GAVE A CHRISTMAS GIFT. SO ONE YEAR HE GAVE THE PLATE AND ANOTHER YEAR HE GAVE THIS BOWL AND ACTUALLY THAT’S ALL I KNOW ABOUT IT… [A]LL THE CUSTOMERS, THE ONES THAT DEALT THERE ALL THE TIME [GOT A CHRISTMAS PRESENT]. THE GOOD PAYING ONES AND THE NOT-SO-GOOD PAYING ONES, I THINK THEY PROBABLY EVEN GOT IT TOO, BUT, AS LONG AS THEY WERE CUSTOMERS THEN THEY GOT ONE… MY MOTHER SAVED [IT] FIRSTLY, BECAUSE THEY REALLY MEANT SOMETHING - PART OF THE STORE I GUESS SHE’D SAY. SO, HAD THEM FOR A LONG, LONG TIME… MY MOM HAD ALL KINDS OF ORNAMENTS AROUND AND SHE’D JUST PUT THEM ON A TABLE OR WHATEVER. SHE WOULD CHANGE HER ORNAMENTS EVERY ONCE AND AWHILE, AND THEN SHE’D PUT THESE IN THE CUPBOARD." ABOUT THE HISTORY OF SUPINA’S MERCANTILE, HORHOZER EXPLAINS: “I WAS BORN INTO [THE STORE]. MY DAD STARTED SMALL. HIS DAD HAD A LITTLE CONFECTIONARY; THEN HE TURNED IT INTO A GROCERY STORE AND THEN HE SOLD IT TO MY DAD. MY DAD WAS THE ONE THAT TOOK IT OVER, THAT WAS ALREADY TAKING PLACE WHEN I WAS BORN. THERE WAS NO SPECIFIC MEMORY [OF THAT TRANSITIION] BECAUSE THAT’S ALL I KNEW REALLY.” “… MY DAD WAS BORN IN CZECHOSLOVAKIA. [HIS FAMILY] CAME HERE WHEN HE WAS TWO. [HIS YOUNGER SIBLINGS], THE FIVE BROTHERS AND THE ONE SISTER, WERE ALL BORN IN THAT SAME LITTLE HOUSE THERE. AND THAT’S WHERE MY GRANDPA HAD STARTED THE STORE, IT WAS JUST A CONFECTIONARY. EVENTUALLY IT GREW INTO QUITE A BUSINESS… IN THOSE DAYS, IT WAS HORSE AND BUGGY, SO THEY HAD FIVE HORSES AND BUGGIES THAT WERE RUNNING, WORKING, AND MY UNCLE ALWAYS LOOKED AFTER THE HORSES AND MAINTAINED THEM. THEY’D GO AND THEY’D PICK UP THE ORDER. LOTS OF THE PEOPLE THEN COULDN’T SPEAK ENGLISH, BUT MY DAD COULD SPEAK CZECH, AND THEN THEY’D USUALLY SEND – HE HAD ALL KINDS OF NATIONALITIES WORKING FOR HIM - [A PERSON OF MATCHING ETHNICITY], THAT KNEW THEIR LANGUAGE TO PICK UP THE ORDER. THEY BROUGHT IT BACK TO THE STORE, AND THEN DELIVERED IT BACK TO THE CUSTOMER, THAT WAS REAL SERVICE IN THOSE DAYS, ESPECIALLY WITH HORSE AND BUGGY IN THOSE WINTRY DAYS, AFTER THAT IT DEVELOPED INTO TRUCKS. THERE WERE LOTS OF MINERS IN THOSE DAYS AND WERE GOOD CUSTOMERS… HE AT ONE TIME EMPLOYED THIRTY-SIX PEOPLE IN THE STORE THERE.” AN ARTICLE IN LETHBRIDGE HERALD PUBLISHED ON MAY 5, 2004 STATES THAT NICK SUPINA PURCHASED THE STORE FROM HIS FATHER, MIKE SUPINA, IN 1918. IN THE INTERVIEW, HORHOZER CONTINUED TO SPEAK ABOUT THE BEGINNING DAYS OF THE SUPINA’S STORE: “MY GRANDPA WAS WORKING IN THE MINE. I DON’T KNOW HOW IT CAME THAT HE HAD THIS LITTLE BUSINESS… IT’S MY DAD THEN THAT HAD TO LOOK AFTER THE FAMILY BECAUSE THEY DIDN’T HAVE ANY MONEY. THERE WAS FIVE BOYS SO HE HAD THEM ALL. THEY WERE ALL CLOSE TOGETHER IN AGE. THERE’S STEVE AND BILLY AND JOHN AND MIKE… UNCLE STEVE, IS THE SECOND, HE’S THE ONE THAT STAYED WITH MY DAD, AND JOHNNY DID TOO. THEN THE OTHER TWO PURSUED THEIR OWN BUSINESSES. BILLY HAD A BUSINESS IN RED DEER AND SMALL BUSINESSES IN TWO OTHER PLACES. THEN MIKE, HE WENT TO THE STATES AND—OH, THAT WAS GEORGE, PARDON ME. HE HAD A SHOE STORE WHICH WAS VERY, VERY SUCCESSFUL. MIKE WAS THE ONLY ONE THAT WASN’T IN BUSINESS. THAT WAS BECAUSE HE WAS IN THE WAR…” THINKING BACK ON HER MEMORIES OF SUPINA’S, HORHOZER DESCRIBES, “[I]N THOSE DAYS YOU HAD GOOD FRUIT. I REMEMBER THE DELICIOUS PEACHES. I HAVEN’T SEEN A PEACH LIKE THAT SINCE… LOTS OF TIMES, THE FRUIT WOULD GO OVER-RIPE, LIKE YOUR APRICOTS AND PEACHES. MY MOTHER WOULD GO AND GET ALL THE OVER-RIPE FRUIT AND TAKE IT HOME AND MAKE BEAUTIFUL PIES AND TAKE THE PIES BACK TO THE STORE AND SELL THEM. SHE WAS A WONDERFUL BAKER. THEY DID EVERYTHING LIKE THAT TO HELP MAKE MORE MONEY. SOMETIMES MY DAD WOULD HAVE A SPECIAL ON, 3 CENTS A LOAF [OF BREAD. I HAD LOTS OF ADS FROM THE STORE, AND YOU’D GET SUCH A KICK OUT OF SEEING HAMBURGER, TWENTY-FIVE CENTS A POUND AND THINGS LIKE THAT. SO, YES I REMEMBER.” HORHOZER BEGAN WORKING AT THE STORE AT THE AGE OF 14: “I WORKED IN THE LADIESWEAR. I LIKED THAT VERY MUCH. THE MEAT DEPARTMENT WAS RIGHT ACROSS FROM THE LADIESWEAR. THAT’S KIND OF HOW I MET JOE. HE WORKED IN THE BUTCHER DEPARTMENT. I REMEMBER THE DAY HE WALKED IN THE STORE, I’LL NEVER FORGET [IT], HE HAD THIS RED CARDIGAN SWEATER ON AND I JUST FELL, HEAD OVER RIGHT THEN. HE WAS JUST STARTING WORK AND I THOUGHT, ‘WELL, THAT’S THE GUY I’M GOING TO MARRY.’” HORHOZER BELIEVED THAT AN IMPORTANT PART OF THE STORE’S SUCCESS WAS “… BECAUSE, [OF] THE SERVICE MAINLY. JUST THINK, GOING THERE, GETTING YOUR ORDERS, BRINGING THEM BACK, DOING THEM UP, THEY’D MAKE SURE THINGS WERE TOP QUALITY. THEY GOT TO KNOW EVERY CUSTOMER, OF COURSE, AND THEY KNEW WHAT THEY LIKED. HE HAD WONDERFUL PEOPLE WORKING FOR HIM. THEY JUST GAVE FANTASTIC SERVICE ALL THE TIME. PLUS, MY DAD WAS GRUFF, BUT HE WAS VERY, VERY KIND TO POOR PEOPLE THAT COULDN’T AFFORD –THERE’S LOTS THAT YEARS AFTER HE HAD PASSED AWAY [PEOPLE] WOULD COME UP TO ME AND SAY, ‘IF IT WASN’T FOR YOUR DAD, JOHNNY WOULDN’T HAVE HAD CHEESE,’ OR SOMETHING. I DIDN’T KNOW A THING ABOUT IT, BECAUSE HE WAS ONE THAT NEVER, EVER TOLD ANYBODY… THEN AT CHRISTMAS TIME HE WOULD GO TO THE STORE AND HE HAD A LIST OF EVERYBODY THAT HE KNEW WAS EXCEPTIONALLY POOR, AND HE WOULD FILL BASKETS. HE WOULD DO IT ALL BY HIMSELF… HE WOULDN’T TELL MY MOTHER AND I. HE WAS SO TIGHT-MOUTHED, FILL ALL THESE BASKETS AND DELIVER THEM TO THE PEOPLE HIMSELF WITHOUT TELLING A SOUL ABOUT IT. HE WAS THAT KIND OF PERSON. HE WAS VERY KIND THAT WAY.” SUPINA’S MERCANTILE SERVED LETHBRIDGE UNTIL IT CLOSED IN 1960. HORHOZER REMAINED IN RETAIL IN VARIOUS SHOPS IN THE CITY, INCLUDING THE DEPARTMENT STORE WOOLCO UNTIL HER RETIREMENT IN 1988. HORHOZER PASSED AWAY IN LETHBRIDGE IN 2016 AT THE AGE OF 88 YEARS OLD. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION ABOUT SUPINA’S MERCANTILE AND THE LIFE OF EVERAL AND HER FAMILY, WHICH INCLUDES THE FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150016001
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Date Range From
1912
Date Range To
1952
Material Type
Artifact
Materials
FIR
Catalogue Number
P20150011000
  1 image  
Material Type
Artifact
Date Range From
1912
Date Range To
1952
Materials
FIR
No. Pieces
2
Height
124
Length
97
Width
60.5
Description
RECTANGULAR WOODEN LECTERN, STAINED MAHOGANY COLOUR, WITH TONGUE & GROOVE INSET PANELS AT FRONT AND SIDES AND CROWN MOULDING AT BASE AND TOP. TOP PANEL HAS HINGED SECTION AT CENTRE THAT IS SLANTED – PANEL ANGLE CAN BE ADJUSTED WITH TWO SLATS OF WOOD SCREWED INSIDE LECTERN THAT CAN BE MOVED TO SUPPORT PANEL. BACK SIDE OF LECTERN HAS TWO HINGED CABINET DOORS. INNER CAVITY HAS ONE SHELF, ACCESSIBLE UNDER HINGED PANEL SECTION. VISIBLE WEAR THROUGHOUT, ESPECIALLY ALONG BASE, EDGES, AND TOP; SCRATCHES AND GOUGES ALONG SIDES AND TOP PANEL HAS LENGTHWISE CRACK. LECTERN IS ON METAL CASTERS – ONE IS BROKEN FROM ITS MOUNT AND HAS BEEN BAGGED FOR STORAGE INSIDE LECTERN. OVERALL GOOD CONDITION.
Subjects
FURNITURE
Historical Association
FURNISHINGS
History
THIS LECTERN WAS ACQUIRED BY THE DONOR, MICHAEL DIMNIK, FROM HIS CLIENT, RON BATSFORD. BATSFORD HAD INHERITED THE LECTERN FROM HIS FATHER, CHARLIE BATSFORD, WHO CLAIMED TO HAVE REMOVED IT FROM THE ORIGINAL LETHBRIDGE COURT HOUSE. PHOTOGRAPHS IN THE GALT ARCHIVES OF THE INTERIOR OF THE COURT HOUSE (IN OPERATION AT 327 6 STREET SOUTH FROM 1912 TO 1952, WHEN IT WAS REPLACED BY A NEW COURT HOUSE AT 4 AVENUE AND 10 STREET SOUTH AND SUBSEQUENTLY DEMOLISHED) SHOW SIMILAR WOODEN DESKS AND PODIUMS BUT IT IS NOT POSSIBLE TO DEFINITIVELY MATCH THIS LECTURN WITH THE FURNISHINGS VISIBLE IN THE ARCHIVAL PHOTOS. ON MARCH 3, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MICHAEL DIMNIK ABOUT THE LECTERN. DIMNIK SAID: “MY UNDERSTANDING IS THAT IT WAS PART OF THE FIRST COURT ROOM IN LETHBRIDGE… I ACQUIRED IT FROM RON BATSFORD, AT THE TIME THAT HE WAS SELLING HIS HOUSE [IN JULY 2006]. AS PART OF MY LEGAL PRACTICE I DID A LOT OF REAL ESTATE, SO HE CAME TO ME AND ASKED ME TO ASSIST HIM… MY OFFICE WAS IN AN OLDER BUILDING [AT 334 12 STREET SOUTH], BUILT IN 1906. HE WAS IMPRESSED WITH THE FACT THAT I WAS PRACTICING OUT OF AN OLDER BUILDING, AND APPRECIATED THE HISTORICAL SIGNIFICANCE OF THE HOUSE. AND HE SENSED THAT I WOULD APPRECIATE ITEMS OF HISTORICAL SIGNIFICANCE THAT HE HAD IN HIS POSSESSION. SO AS HE WAS MOVING OUT, HE WAS IN A BIT OF A QUANDARY BECAUSE HE HAD A NUMBER OF ITEMS THAT HE COULDN’T OTHERWISE DISPOSE OF [AND] THE HOUSE HAD TO BE VACATED… SO HE ASKED ME IF I HAD INTEREST IN ACQUIRING THESE THINGS… ONE WAS A SAFE, AND THE OTHER WAS THE LECTERN… WITH MY LEGAL CONNECTION, I WAS INTERESTED IN SEEING THE PODIUM. I TOOK IT SIGHT UNSEEN, SO I SENT SOMEBODY OVER TO PICK IT UP, ANTICIPATING WHAT IT MIGHT LOOK LIKE, AND WHERE I MIGHT POTENTIALLY BE ABLE TO PUT IT IN MY OFFICE [TO] DISPLAY IT. IT WAS SUCH A LARGE ITEM THAT IT JUST DIDN’T FIT ANYWHERE… [SO] FROM THE DAY I ACQUIRED IT, BASICALLY, IT HAS BEEN IN STORAGE... [RON] TOLD ME THAT HIS FATHER… WAS A CUSTODIAN AND HE TOOK ON JOBS WHERE HE BE CLEANING BUILDINGS. ONE OF THE JOBS HE HAD WAS CLEANING WHAT WAS THE ORIGINAL COURT HOUSE IN LETHBRIDGE. SO WHEN THEY STOPPED UTILIZING THE COURT ROOM, THEY STARTED DISPOSING OF THE ITEMS, AND HIS FATHER TOOK THE PODIUM, BECAUSE IT WAS GOING TO BE DISPOSED OF OTHERWISE.” ON MARCH 10, 2015 MACLEAN INTERVIEWED BETTY DICKSON, RON BATSFORD’S WIFE, ABOUT HER RECOLLECTIONS OF THE LECTERN. DICKSON SAID: “IT WAS IN OUR HOUSE UNDER THE STEPS – IT USED IT BE HIS MOM AND DAD’S HOUSE [AND THE LECTERN] WAS JUST LEFT THERE FOR RON WHEN THEY PASSED AWAY… HIS FATHER, CHARLIE, CAME ACROSS A LOT OF THINGS LIKE THAT AND KEPT THEM BECAUSE OF THE HISTORY OF THEM… HE ACQUIRED A LOT OF ANTIQUES… THAT WAS JUST PART OF HIM, THAT’S WHAT HE LIKED TO DO… [RON] SAID IT WAS [FROM] AN OLD COURT ROOM THAT THEY JUST TORE DOWN… IT WAS PART OF HISTORY AND [RON] WANTED SOMEONE TO BE ABLE TO APPRECIATE IT… THAT’S [WHY] RON GAVE IT TO [MIKE DIMNIK].” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS.
Catalogue Number
P20150011000
Acquisition Date
2015-03
Collection
Museum
Images
Less detail
Other Name
CYMBALON
Date Range From
1900
Date Range To
1920
Material Type
Artifact
Materials
WOOD, METAL, WIRE
Catalogue Number
P20120044000
  2 images  
Material Type
Artifact
Other Name
CYMBALON
Date Range From
1900
Date Range To
1920
Materials
WOOD, METAL, WIRE
No. Pieces
4
Height
73.5
Length
136
Width
73.5
Description
.1 STRINGED MUSICAL INSTRUMENT. WOODEN TRAPEZOIDAL BOX WITH METAL WIRES STRUNG BETWEEN PEGS ACROSS ITS TOP. BOX SITS ON FOUR CARVED WOODEN PEDESTAL LEGS, AND IT IS SLIGHTLY ANGLED DOWNWARD TO ACCOMMODATE THE REACH OF A SEATED MUSICIAN. WOOD IS STAINED DARK BROWN, WITH WEAR AND SCUFFMARKS VISIBLE OVERALL. .2 MALLETS (2 PCE). 31CM X 2CM X 3CM. WOODEN STICKS WITH CARVED GROOVES ON ONE END FOR THE MUSICIAN’S FINGERS TO GRASP, AND PADS ON THE OPPOSITE, SLIGHTLY CURVED END, MADE FROM THREAD AND FABRIC, FOR STRIKING THE WIRES TO PRODUCE SOUND. .3 VINYL SLIPCOVER . 110CM X 134CM X 0.5CM. FITS OVER TOP OF INSTRUMENT. WHITE WITH RED, WHITE AND GREEN HORIZONTAL STRIPES IN THE FORMATION OF THE HUNGARIAN FLAG. MACHINE STITCHED WITH FELT LINING. SCUFFING AND GENERAL GRIME OVERALL.
Subjects
MUSICAL T&E
Historical Association
LEISURE
History
THE CONCERT CIMBALOM (ALTERNATE SPELLING: CYMBALON) IS A STRINGED DULCIMER INSTRUMENT, POPULARIZED IN HUNGARY IN THE LATE 19TH AND EARLY 20TH CENTURIES. THE INSTRUMENT IS TYPICALLY PLAYED BY STRIKING TWO MALLETS AGAINST METAL STRINGS THAT ARE STRETCHED ACROSS A WOODEN TABLETOP STRUCTURE. THE INSTRUMENT PRODUCES SOUNDS SIMILAR TO A PIANO AND RESTS ATOP FOUR PEDESTAL LEGS, ALLOWING THE MUSICIAN TO PLAY IT WHILE SEATED. THE FOLLOWING INFORMATION ABOUT THIS ARTIFACT AND ITS ORIGINAL OWNER, JOE PRAGAI, WAS DEVELOPED WITH INFORMATION PROVIDED IN WRITING BY JOAN METZGER, WHO’S FATHER WAS A MEMBER OF THE SOUTHERN ALBERTA HUNGARIAN COMMUNITY AND A FRIEND OF PRAGAI. WHEN PRAGAI DIED IN APRIL 1966, HE LEFT THE CIMBALOM TO JOAN. PRAGAI WAS BORN IN HUNGARY ON MARCH 18, 1885 AND EMIGRATED TO CANADA IN 1928 WITH HIS WIFE, THOUGH SHE LATER RETURNED TO HUNGARY. HE BROUGHT THE CIMBALOM WITH HIM TO CANADA FROM HUNGARY. PRAGAI LIVED THROUGHOUT ALBERTA (LETHBRIDGE, DRUMHELLER, PICTURE BUTTE), WORKING AS A SHEEP SHEARER, CARPENTER, AND HANDYMAN. PRAGAI WAS HEAVILY INVOLVED IN THE HUNGARIAN COMMUNITY IN SOUTHERN ALBERTA, PLAYING THE CIMBALOM AND VIOLIN IN BANDS. THE MOST WELL-DOCUMENTED MUSCIAL GROUP HE PLAYED WITH WAS STEVE MEZEI’S ORCHESTRA, WHICH PERFORMED AT SUPPERS, DANCES AND PICNICS HELD BY THE HUNGARIAN OLD-TIMERS SOCIETY FROM 1952 TO 1964. ON JULY 5, 2013, GALT MUSEUM COLLECTIONS TECH KEVIN MACLEAN INTERVIEWED PRAGAI’S BANDMATE ANTHONY HORVATH ABOUT THE MEZEI ORCHESTRA. HORVATH SAID: “WITH MR. MEZEI'S BAND, WE PLAYED WEDDINGS, SUPPERS... MANY PICNICS, THREE PICNICS A SUMMER; SOMETIMES FOUR... [STEVE MEZEI] USED TO BE A SHOEMAKER ON 13 ST NORTH... EIGHT OR NINE YEARS I PLAYED WITH THEM [STARTING] IN '53... [BUT] THEY WERE PLAYING WAY BEFORE ME, ALL OVER... WELL TO ME THAT WAS JUST RELAXED ENTERTAINMENT. I FELT BEING RELAXED WHEN I PLAYED THE VIOLIN, SO I WAS ALWAYS JUST WAITING FOR THE OPPORTUNITY, EVEN JUST TO PRACTICE WHEN WE GET TOGETHER, AND… WE WERE MOSTLY PRACTICING IN THE BASEMENT [OF STEVE DOBAY]. HE HAD A HOUSE ON 5 STREET... [WE HAD] CIMBALON, THE BIG BASS, AND THE FIRST AND SECOND VIOLIN... SOMETIMES THERE WAS MORE BECAUSE THERE WAS ANOTHER CIMBALON PLAYER, AND BOTH OF THEM WORKED TOGETHER... MR. HOPAK, HE ALSO HAD HIS OWN CIMBALON, AND THE RIVALNESS WAS ALWAYS ONE TO BE MORE ACCEPTABLE THAN ANOTHER ONE, BUT WE GAVE THEM BOTH THE CHANCE TO PLAY SOMETIMES... [IN] MEZEI'S BAND NOBODY READ SHEET MUSIC, ONLY ME, AND THAT WAS VERY FORTUNATE FOR ME, BECAUSE I COULD CHOOSE WHAT WAS EASIER FOR ME TO PLAY... THE TYPE OF MUSIC THAT THEY PLAYED, IT STILL WAS FROM 1700-1800. [I] WAS TRYING TO INTRODUCE NEW SONGS OR NEW MELODIES... I CAME WITH MORE MODERN STUFF. EVERYBODY LIKED IT, EVEN AS FOLK MUSIC, MODERN… AS A NEWCOMER, THEY FOUND OUT EVERYBODY LIKES THE WAY I PLAY, SO IT WAS VERY ACCEPTABLE… MUSIC WAS ALWAYS WELCOME TO BRIGHTEN UP THE GATHERINGS. AND IN THOSE DAYS, WE NEVER CHARGED ANYTHING TO PLAY… HUNGARIANS HAVE THE HABIT TO PUT THE MONEY IN THE [VIOLIN] BOW IN A ROW AND THEN YOU PLAY, AND EVERYBODY SEES IT. AND WHEN ONE PUTS IT IN, SO THAT EVERYBODY COULD SEE IT, AND THEN THE RIVAL SAYS ‘AH HAH, HE PUT $20 IN. I’M GOING TO PUT ANOTHER $20 IN.’ WE GATHERED THE MONEY TOGETHER, TO THE BAND, THAT WAS OUR WAGES. THERE WAS A FREE MEAL, AND I TOLD THE BOYS ‘NO BOOZE’ BECAUSE WE HAVE TO PLAY. BUT AFTER, WHEN IT WAS FINISHED, EVERYBODY HAD A COUPLE SHOTS... THE OLD MAN DIED, MR. MEZEI DIED, AND AFTER HIS SON DIED, AND THERE WAS ANOTHER OLD MAN, PODALAKI, HE'S GONE TOO. I AM THE ONLY ONE LEFT FROM THE MEZEI'S BAND WHO IS ALIVE... IT DIED OUT... WHEN THE OLD MAN DIED, THE BAND STOPPED.” ON NOVEMBER 6, 2013, GALT MUSEUM COLLECTIONS TECH KEVIN MACLEAN INTERVIEWED METZGER ABOUT HER CONNECTION TO PRAGAI AND THE CIMBALOM. METZGER SAID: “WHEN JOE PASSED AWAY HE LEFT [THE CIMBALOM] TO ME IN HIS WILL BECAUSE I WAS STILL A LITTLE GIRL AT THE TIME AND IT USED TO QUITE THRILL ME TO SIT AND LISTEN TO HIM PLAY HIS FUNNY PIANO AND SO SINCE I WAS SO INTERESTED IN IT HE SAID TO MY DAD THAT IT WAS TO BE MINE WHEN HE NO LONGER NEEDED IT… HE WAS LIKE A GRANDFATHER FIGURE TO ME AND I GUESS I WAS SPECIAL ENOUGH IN HIS LIFE THAT HE WANTED ME TO HAVE ONE OF HIS SPECIAL POSSESSIONS… QUITE OFTEN MY PARENTS WOULD GO OUT TO PICTURE BUTTE, WHERE JOE LIVED, AND HE HAD HIS CIMBALOM THERE AND I REMEMBER A WOODEN CHAIR SITTING BESIDE IT AND I WOULD SIT ON THAT WOODEN CHAIR AND ASK HIM TO PLAY MUSIC FOR ME BECAUSE HE COULD PLAY IT LIKE NO OTHER INSTRUMENT I’VE HEARD ANYBODY PLAY. HE WOULD JUST MAKE IT SING AND I WOULD SO ENJOY IT, AND I THINK HE APPRECIATED THE FACT THAT I APPRECIATED HIS TALENT AND THE CIMBALOM… I REMEMBER GOING IN AND LOOKING AT THIS BIG FUNNY TABLE WITH THESE BIG LEGS AND A BLANKET OVER THE TOP… HE ALWAYS HAD AN OLD BLANKET ON IT TO PROTECT IT FROM THE DUST, AND I REMEMBER HIM TAKING THAT OFF AND FOLDING THE BLANKET SO METICULOUSLY AND SETTING IT ON ANOTHER CHAIR, AND THEN HE WOULD PICK UP THE LITTLE HAMMERS AND BEGIN TO PLAY. I REMEMBER BEING QUITE AMAZED THAT THIS BIG, MONSTROUS, I MEAN TO ME IT WAS HUGE, THIS BIG HUGE INSTRUMENT, THIS FUNNY THING WITH ALL THESE STRINGS ON IT MADE SUCH BEAUTIFUL, BEAUTIFUL MUSIC… IT’S KIND OF A CROSS BETWEEN A HARP AND A PIANO. I REMEMBER THINKING, WELL I USED TO CALL IT HIS FUNNY PIANO, BECAUSE IT REMINDED ME VERY MUCH OF THE STRINGS, THE UPRIGHT STRINGS ON THE PIANO, BUT LAID DOWN… MY PARENTS CLEANED OUT JOE’S HOUSE AFTER HE PASSED AND MADE SURE THAT EVERYTHING WAS LOOKED AFTER FOR HIM AND THEY BROUGHT THE CIMBALOM HOME. WE SET IT UP IN THE BASEMENT BECAUSE AT THAT POINT JOE HAD TAUGHT ME A FEW THINGS ABOUT PLAYING ON IT AND I HAD ALWAYS HOPED THAT I WOULD FIND SOMEONE THAT KNEW A LITTLE BIT MORE TO TEACH ME, BUT THAT NEVER HAPPENED. SO, ANYHOW I DO KNOW C SCALE… I FIDDLED AROUND ON IT LIKE YOUNG ADULTS WOULD DO, AND EVEN WHEN WE MOVED IT TO RED DEER I HAD IT SET UP – I WAS NEWLY MARRIED – AND I WOULD SIT DOWN AND TRY AND PLAY IT AND MAKE SOME SENSE OUT OF IT, AND NOT TOO SUCCESSFULLY… MY DAD HAD MENTIONED THAT HE HAD RUN ACROSS SOMEONE IN PASSING THAT HAD KNOWN JOE AND KNEW ABOUT THE CIMBALOM AND HAD ASKED WHAT HAD BECOME OF IT AND ASKED IF I WOULD BE INTERESTED IN SELLING IT, AND WHEN MY DAD MENTIONED THAT TO ME I SAID I HAVE NO INTEREST IN SELLING THAT… IT WAS SOMETHING THAT WAS GIVEN TO ME BY JOE AND I CAN’T TURN AROUND AND MAKE MONEY ON SOMETHING THAT WAS GIVEN TO ME AS A GIFT OUT OF, I GUESS, LOVE… SO AT THAT POINT I THOUGHT IT MIGHT BE NICE TO MAKE IT AS A DONATION TO THE HUNGARIAN CLUB BECAUSE I DIDN’T WANT TO SELL IT.” IN 1999, METZGER DONATED THE CIMBALOM TO THE HUNGARIAN CULTURAL SOCIETY OF LETHBRIDGE. THE SOCIETY WAS BASED OUT OF THE HUNGARIAN PRESBYTERIAN CHURCH ON 10 AVE AND 10 ST NORTH. METZGER SAID: “AT THE TIME THAT I HAD DONATED [THE CIMBALOM] THE HUNGARIAN CULTURAL CLUB INVITED ME AND MY HUSBAND AND MY PARENTS TO COME TO THEIR BANQUET AND THEIR CELEBRATION… THEY DID HAVE THE CIMBALOM UP AT THE TIME SO I DID GET TO SEE IT THEN AND SOMEONE HAD DONE SOME WORK ON IT… IT WAS LOVELY, IT WAS STURDY, IT WAS WELL CLEANED AND POLISHED, NO DUST, NO NOOKS AND CRANNIES AND SO IT WAS KIND OF NEAT TO SEE THAT AND… IT MADE US FEEL LIKE IT WAS A VERY IMPORTANT PART OF THEIR GROUP.” THE HUNGARIAN CULTURAL SOCIETY HAD ONE OF THEIR MEMBERS, LASZLO KURTOS, MAKE A CUSTOM SLIPCOVER FOR THE INSTRUMENT, IN THE COLOURS OF THE HUNGARIAN FLAG. AS THE SOCIETY'S MEMBERSHIP LESSENED, THE CHURCH WAS SOLD AND THE SOCIETY MOVED INTO A SHARED SPACE AT THE SOUTHERN ALBERTA ETHNIC ASSOCIATION. THE CIMBALOM WAS MOVED INTO THE HOME OF SOCIETY MEMBER LAJOS LUDOVIC SZILASI AND STAYED THERE UNTIL SOCIETY BOARD MEMBER CAROLE GEMER CONTACTED THE GALT IN SEPTEMBER 2010 AND PROPOSED THAT THE CIMBALOM BE DONATED. FOR FURTHER INFORMATION AND TRANSCRIPTS OF INTERVIEWS, SEE PERMANENT FILE.
Catalogue Number
P20120044000
Acquisition Date
2011-02
Collection
Museum
Images
Less detail
Other Name
CAPITOL THEATRE, ARCHITECTURAL SALVAGE
Date Range From
1929
Date Range To
1973
Material Type
Artifact
Materials
FIRED CLAY
Catalogue Number
P20130001000
  1 image  
Material Type
Artifact
Other Name
CAPITOL THEATRE, ARCHITECTURAL SALVAGE
Date Range From
1929
Date Range To
1973
Materials
FIRED CLAY
No. Pieces
1
Height
6
Length
20.5
Width
9.5
Description
CLAY BRICK, LIGHT RED IN COLOUR WITH AREAS OF WHITE RESIDUE. NO VISIBLE TEXT PRESENT. RECTANGULAR INDENT WITH BEVELED EDGES AT TOP. BOTTOM IS ROUGH IN TEXTURE. SOME CHIPS AND AREAS OF LOSS ALONG EDGES.
Subjects
BUILDING COMPONENT
Historical Association
LEISURE
TRADES
History
THIS BRICK WAS RETRIEVED FROM THE CAPITOL THEATRE DURING ITS DEMOLITION IN OCTOBER 1973, BY BOB SHACKLEFORD, THE OPERATOR OF LETHBRIDGE THEATRES LTD. A PHOTOGRAPH IN THE GALT ARCHIVES (20131008001) SHOWS BOB AND HIS WIFE MILDRED AT THE DEMOLITION, WITH THE BRICK UNDER BOB’S ARM. THE DONOR, JOEY SHACKLEFORD, IS THEIR SON, AND FOUND THE BRICK AND PHOTOGRAPH IN A CEDAR CHEST OWNED BY HIS PARENTS. AT THE TIME OF DONATION, JOEY TOLD GALT COLLECTIONS TECH KEVIN MACLEAN THAT HIS DAD HAD WANTED TO “GET DOWN THERE ON THE LAST DAY AND GET A BRICK”. THE CAPITOL THEATRE WAS DEMOLISHED BEGINNING OCTOBER 24, 1973 AS PART OF OTHER DEMOLITION AND CONSTRUCTION PROJECTS ON 5TH AVENUE SOUTH THAT RESULTED IN THE CONSTRUCTION OF LETHBRIDGE CENTRE MALL AND THE PROVINCIAL BUILDING. LETHBRIDGE THEATRES LTD. WAS OWNED BY THE DONOR’S GRANDFATHER, ALFRED WILLIAM SHACKLEFORD. THE FOLLOWING BIOGRAPHY OF MAYOR SHACKLEFORD WAS DEVELOPED WITH INFORMATION FROM ARCHIVES CANADA ONLINE AND A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM MAY 31, 1992. A.W. SHACKLEFORD WAS BORN IN ESSEX, ENGLAND IN 1899 AND CAME TO CALGARY WITH HIS PARENTS IN 1909. AFTER HIGH SCHOOL HE TRAINED AS A DRAFTSMAN BUT WAS EMPLOYED BY THE FILM EXCHANGE AND FOX FILMS. IN 1921 HE WAS HIRED TO MANAGE THE KING'S THEATRE IN LETHBRIDGE AND BECAME ASSOCIATED WITH MARK ROGERS, A LETHBRIDGE BUSINESSMAN WHO OWNED THREE LOCAL MOVIE THEATRES. SHACKLEFORD ALSO BECAME PARTNER IN THE AMUSEMENT COMPANY THAT OPENED THE HENDERSON LAKE PAVILLION IN 1924. BY 1925 HE WAS PART-OWNER OF THE FORMER EMPRESS THEATRE ON 5TH AVENUE SOUTH, RENAMING IT THE ROXY. HE THEN TEAMED UP WITH THE FAMOUS PLAYERS COMPANY TO REMODEL THE FORMER PALACE THEATRE AND RENAME IT THE CAPITOL. SHACKLEFORD ALSO OPENED THE THEATRE IN THE FORMER COLLEGE MALL, BUILT THE 960-SEAT PARAMOUNT THEATRE ON 4TH AVENUE SOUTH, AND TOOK OVER OPERATION OF THE DRIVE-IN THEATRE AT THE SOUTH CITY LIMITS. SHACKLEFORD WAS HEAVILY INVOLVED IN CIVIC LIFE, ACTIVE IN GROUPS INCLUDING THE CANADIAN CANCER SOCIETY, THE GYRO CLUB, UNITED WAY, LETHBRIDGE & DISTRICT EXHIBITION BOARD, BOARD OF TRADE, ST. AUGUSTINE'S CHURCH, AND THE ALBERTA THEATRE OPERATORS ASSOCIATION. HE AND HIS WIFE ADA HAD TWO SONS, ROBERT AND DOUGLAS. AFTER SEVERAL TERMS AS ALDERMAN STARTING IN 1939, SHACKLEFORD FIRST SERVED AS MAYOR FROM 1944 - 1947, AND FOR TWO MORE TERMS FROM 1952 - 1955 AND 1957 - 1961. HE WORKED FOR 68 YEARS IN THE MOVIE BUSINESS, RETIRING AT AGE 90. W.A. SHACKLEFORD DIED IN LETHBRIDGE ON MAY 30, 1992. SEE PERMANENT FILE P20060025001 FOR HARDCOPIES OF SOURCE MATERIAL. THE FOLLOWING BIOGRAPHY OF ROBERT SHACKLEFORD WAS DEVELOPED WITH INFORMATION FROM THE DECEMBER 19, 2001 ISSUE OF THE LETHBRIDGE HERALD, AND HIS WIFE MILDRED’S OBITUARY. ROBERT SHACKLEFORD WAS BORN IN 1924 AND FROM AN EARLY AGE, BOTH HE AND HIS BROTHER DOUG WORKED IN THEIR FATHER’S MOVIE THEATRES. BOB SERVED ABOARD A DESTROYER IN THE PACIFIC DURING WWII, AND MARRIED HIS HIGH SCHOOL SWEETHEART MILDRED IN 1947. HE EARNED A DEGREE IN BUSINESS FROM THE UNIVERSITY OF TORONTO AND RETURNED TO LETHBRIDGE WHERE HE JOINED THE FAMILY BUSINESS, OPERATING THE CAPITOL THEATRE, PARAMOUNT THEATRE, AND GREEN ACRES DRIVE-IN. IN 1990 FATHER AND SON RETIRED, SELLING THE TWO REMAINING THEATRES OPERATED BY LETHBRIDGE THEATRES LTD., THE PARAMOUNT AND LETHBRIDGE CENTRE CINEMAS, TO FAMOUS PLAYERS. BOB WAS AN ACTIVE MEMBER OF THE ROTARY CLUB, ELKS, AND THE LEGION. BOB SHACKLEFORD DIED ON DECEMBER 17, 2001. MILDRED SHACKLEFORD DIED ON MAY 25, 2013. SEE PERMANENT FILE FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P20130001000
Acquisition Date
2013-02
Collection
Museum
Images
Less detail
Other Name
OFFICE DESK
Date Range From
1910
Date Range To
1997
Material Type
Artifact
Materials
OAK, NEWSPAPER, MOTHER-OF-PEARL
Catalogue Number
P20110027000
  1 image  
Material Type
Artifact
Other Name
OFFICE DESK
Date Range From
1910
Date Range To
1997
Materials
OAK, NEWSPAPER, MOTHER-OF-PEARL
No. Pieces
1
Height
76.4
Length
167.8
Width
86.4
Description
DESK, OAK WITH MOTHER-OF-PEARL CALL BUTTONS ON TOP FRONT RIGHT CORNER. TOP SURFACE HAS: WORN FINISH, AREA OF DARK BLACK STAINING NEAR FRONT CENTER, AND WATER DAMAGE CAUSING WOOD TO SPLIT AT THREE PLACES ON RIGHT SIDE. SEVEN DRAWERS, WITH THREE ON LEFT, THREE ON RIGHT AND ONE AT CENTER. DRAWER FACES HAVE BEVELED EDGES AND WOODEN HANDLES. BOTTOM TWO DRAWERS ON RIGHT, BOTTOM DRAWER ON LEFT AND CENTER DRAWER HANDLES HAVE CHUNKS OF WOOD MISSING. LEFT SIDE OF CENTER DRAWER HAS WHITE PAINT. LOCKING MECHANISMS AT TOP RIGHT, CENTER AND LEFT DRAWERS. ABOVE DRAWERS AT LEFT AND RIGHT ARE PULL OUT BOARDS. SIDES AND REVERSE OF DESK HAVE PANELED WOOD. RIGHT SIDE HAS FRAGMENT OF CORD EXTENDING FROM THE EDGE OF CALL BUTTONS. TOP DRAWER ON RIGHT HAS THREE LOOSE WOODEN SEPARATORS, ONE IN RIGHT MIDDLE AND ONE IN LEFT MIDDLE. SPILLED INK HAS STAINED THE BOTTOM OF TOP LEFT DRAWER INSIDE. FRAGMENT OF NEWSPAPER ON THE UNDERSIDE OF TOP CENTER DRAWER HAS, “FRIDAY, MAY 23, 1913.”
Subjects
FURNITURE
Historical Association
SAFETY SERVICES
FURNISHINGS
PROFESSIONS
History
DESK BELONGED TO DONOR’S FATHER JERRY YAMAMOTO WHO PASSED AWAY ON OCTOBER 11, 1997. IN MAY 2012, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DONOR TERRY YAMAMOTO. THE FOLLOWING INFORMATION WAS EXTRACTED FROM THE INTERVIEW’S TRANSCRIPTION. WHEN ASKED ABOUT HIS FIRST MEMORY OF THE DESK, YAMAMOTO RESPONDED BY SAYING, “WELL… IT GOES BACK TO WHEN I WAS ABOUT ELEVEN YEARS OLD. MY DAD BUILT THE HOUSE, HE BUILT IT ON HIS OWN AND THE FIRST YEAR WE MOVED IN THERE I WAS ELEVEN LIKE WE LIVED IN THE BASEMENT WHILE HE BUILT THE UPSTAIRS. AS FAR AS I CAN REMEMBER THAT DESK HAS BEEN THERE SINCE THE TIME WE MOVED IN SO I WAS ELEVEN SO THAT WOULD BE 1963. IT WAS IN WHAT WE CALLED HIS RADIO ROOM. HE WAS A RADIO TECHNICIAN FOR THE RCMP AND HE JUST HAD IT SET IN THERE FOR HIS MUSIC AS A DESK. YEAH, HE DID YOU KNOW WELL HE FIXED RADIOS HE WAS A RADIO TECH FOR THE RCMP SO HE WOULD TINKER AROUND FIXING RADIOS AND THINGS LIKE THAT. HE WAS ALSO A HAM OPERATOR. [FOR] AS LONG AS I CAN REMEMBER HE WAS WITH THE RCMP. I WAS BORN IN ‘52, 1952 SO IT HAD TO BE AROUND THAT TIME OR AFTER THAT HE JOINED THE RCMP BECAUSE AS LONG AS I CAN REMEMBER HE ALWAYS WORKED WITH THEM. HE STARTED OUT AS OPERATING RADIOS THEN JUST WENT ON COURSES AND WHATEVER WITH THE RCMP AND THEN HE BECAME THE RADIO TECHNICIAN FOR SOUTHERN ALBERTA. [WHEN HE STARTED, HE WAS DOING] THE RADIO TRANSMISSION WITH EVERY COP IN THE CARS. AND BASICALLY THE RCMP SENT HIM BACK AND PUT HIM ON TRAINING FOR RADIO TECHNICIAN AND HE WAS WITH THEM UNTIL HE RETIRED. HE LIKED IT BECAUSE HE SERVICED NOT ONLY THE CAR RADIOS BUT ALL THE RADIO TOWERS FOR SOUTHERN ALBERTA. THE ONE THING HE REALLY ENJOYED WAS HE HAD RETIRED AND THEN WHEN THE OLYMPICS CAME, THE SKIING, THE WORLD CUP IN 1980, SECURITY OR WHATEVER. THE RCMP SENT HIM OUT TO OTTAWA ON A SPECIAL, BROUGHT HIM OUT OF RETIREMENT, SENT HIM TO OTTAWA FOR A SPECIAL COURSE AND THEN HE HAD TO HE WAS UP AT LAKE LOUISE AND BANFF AND THEY WERE DOING ALL THE SECURITY ON THE TOWERS AND EVERYTHING.” WHEN ASKED IF SHE REMEMBERED ANY OF THE HISTORY OF THE DESK BEFORE HIS FATHER’S USE, YAMAMOTO SAID, “ALL I REMEMBER IS HIM SAYING IS THAT IT CAME FROM THE FORT MACLEOD RCMP BARRACKS AND HIM AND JUDGE GORE-HICKMAN HAD COLLECTED WEIRD THINGS. BUT ANYWAYS IT HAD SOMETHING TO DO WITH JUDGE GORE-HICKMAN SO I DON’T IF HE ACTUALLY HAD IT IN THE BEGINNING AND GAVE IT MY DAD TOOK IT BUT IT DID ACTUALLY COME FROM THE FORT MACLEOD RCMP BARRACKS. [MY FATHER] AND JUDGE GORE-HICKMAN WERE FRIENDS OF A DIFFERENT KIND AND LIKE I SAY THEY COLLECTED WEIRD THINGS.” WHEN ASKED ABOUT THE DAMAGE ON THE TOP SURFACE OF THE DESK, YAMAMOTO EXPLAINED, “YEAH, THAT WAS PROBABLY MY FAULT, I WAS USING IT FOR MY BEDDING PLANTS AND IT GOT SPRAYED WITH WATER. YOU KNOW I HAD THEM SITTING THERE I HAD A BOARD OVER TOP FOR A WHILE THERE.” ACCORDING TO INFORMATION PROVIDED BY KIM GUNN AND FORWARDED BY TOM EDGAR IN AN E-MAIL AT THE TIME OF DONATION, “THE DESK IS AN OLD RCMP DESK THAT WAS STANDARD ISSUE TO RCMP OFFICES ACROSS CANADA. WHEN THE RCMP GOT NEW DESKS IT WAS GIVEN TO DR. GORE-HICKMAN’S DAD FOR USE IN HIS OFFICE AT THE OLD POLICE STATION ON 5TH STREET. GORDIE REMEMBERS JERRY Y. AND THE DESK BEING IN HIS DAD’S OFFICE. HE SAYS HIS DAD AND JERRY WERE GOOD FRIENDS. GORDIE SAYS THAT HIS DAD STARTED OUT AS A POLICE MAGISTRATE AND THAT IS WHY HIS OFFICE WAS AT THE POLICE STATION.” *UPDATE* AT THE TIME OF CATALOGUING IN AUGUST, 2013, COLLECTIONS ASSISTANT DAVID SMITH DISCOVERED SOME ARCHIVAL DOCUMENTS IN THE TOP CENTER DRAWER. UPON CONSULTATION WITH DONOR, THESE DOCUMENTS WERE TRANSFERRED TO GALT ARCHIVES. FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20110027000
Acquisition Date
2011-07
Collection
Museum
Images
Less detail
Date Range From
1929
Date Range To
1955
Material Type
Artifact
Materials
METAL
Catalogue Number
P20070007000
Material Type
Artifact
Date Range From
1929
Date Range To
1955
Materials
METAL
No. Pieces
4
Description
BRWN 3/4 SIZE BED FRAME (4 PCE). FAUX WOOD GRAIN FINISH. HEAD BOARD IS LABELED ON BOTTOM STRUT WHICH READS "SIMMONS LTD". HEADBOARD 121 (L) X 95 (H) X 7 (W). BASEBOARD 121 (L) X 62 (H) X 7 (W). SIDE ROD (2 PCE) 187 (L) X 3 (H) X 5 (W).
Subjects
FURNITURE
Historical Association
DOMESTIC
History
DONOR'S FATHER'S UNCLE, GEORGE CLIRJAK, WAS THE ORIGINAL OWNER OF THE BED. CLIRJAK WAS BORN IN KALO SEMEN HUNGARY IN 1900. IN 1929 HE IMMIGRATED TO LETHBRIDGE IN SEARCH OF A BETTER LIFE. CLIRJAK FOUND A JOB IN THE MINES AND WORKED THERE UNTIL 1955. AT THAT TIME HE MOVED TO CALGARY AND PURCHASED A THREE STORY ROOMING HOUSE WHICH HE OPERATED UNTIL HIS DEATH IN 1981. HE WAS BROUGHT BACK TO LETHBRIDGE AND BURIED IN MOUNTAIN VIEW CEMETERY. CLIRJAK WAS NEVER MARRIED. THE BED WAS ORIGINALLY PURCHASED IN LETHBRIDGE AND TRAVELED WITH HIM TO CALGARY. WHEN CLIRJAK PASSED AWAY, THE DONOR'S PARENT'S, JOHN AND KLARA CLIRJAK, INHERITED THE BED ALONG WITH OTHER ITEMS. THEY NEVER USED THE BED AND STORED IT IN THEIR BASEMENT. IN 1999 THE BED WAS GIVEN TO THE DONOR FOR HER SPARE ROOM. THE BED WAS OCCASIONALLY USED BY THE DONOR'S SON WHEN HE CAME FOR A VISIT.
Catalogue Number
P20070007000
Acquisition Date
2007-03
Collection
Museum
Less detail
Other Name
DERINGER, .41 CAL
Date Range From
1880
Date Range To
1920
Material Type
Artifact
Materials
STEEL, WOOD
Catalogue Number
P20010009000
Material Type
Artifact
Other Name
DERINGER, .41 CAL
Date Range From
1880
Date Range To
1920
Materials
STEEL, WOOD
No. Pieces
1
Height
7.5
Length
12.5
Width
3
Description
SINGLE SHOT, SIDE BREECH DERINGER PISTOL. MARKED "41 CAL" ON LEFT SIDE AND "-COLT-" ON TOP OF BARREL. RECEIVER IS NICKEL PLATED AND BARREL IS BLUED. BARREL DISPLAYS PITTING, CORROSION AND WEAR. SN 17737.
Subjects
ARMAMENT-FIREARM
Historical Association
LEISURE
History
PISTOL BELONGED TO DARLENE'S AUNT (GRACE LOGAN). LOGAN EMIGRATED TO CANADA FROM SEATTLE, WASH., SETTLING IN LETHBRIDGE APPROX. 1918. LOGAN MOVED IN ORDER TO MARRY DONOR'S UNCLE. SHE CARRIED THE PISTOL IN HER PURSE AND REPORTEDLY HAD TO USE IT ONCE TO SHOOT AN ATTACKER IN THE LEG. PISTOL WAS CARRIED IN SEATTLE NOT LETHBRIDGE. A QUAKER, LOGAN WAS ORIGINALLY FROM NEBRASKA, BEFORE BECOMING A TELEPHONE OPERATOR IN SANFRANCISCO AND A CASHIER FOR THE BON MARCHE IN SEATTLE.
Catalogue Number
P20010009000
Acquisition Date
2001-07
Collection
Museum
Less detail
Other Name
CITY HALL BENCH
Date Range From
1925
Date Range To
1990
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19980048002
Material Type
Artifact
Other Name
CITY HALL BENCH
Date Range From
1925
Date Range To
1990
Materials
WOOD
No. Pieces
1
Height
90.1
Length
50.5
Width
152.0
Description
A LARGE OFF-WHITE PAINTED OAK BENCH WITH A SEMI-OPEN BACK AND PAINT CHIPS FALLING OFF AROUND ALL FOUR LEGS. NO VISIBLE DISTINCTIVE MARKINGS.
Subjects
FURNITURE
Historical Association
FURNISHINGS
POLITICS
History
BENCH WAS FOUND IN BASEMENT BATHROOM OF OLD CITY HALL BUILDING. BENCH WAS RECOVERED BY MUSEUM ALONG WITH COLLECTION ON REQUEST OF CITY BUILDING OFFICIALS WHO FEARED THAT HALL EMPLOYEES WOULD STEAL CITY PROPERTY DURING THE RELOCATION OF HALL OPERATIONS. OFFICIALS FELT THAT EMPLOYEES MIGHT BELIEVE CITY PROPERTY WAS THEIRS IF IT HAD BEEN IN THEIR OFFICE FOR TWENTY YEARS (EG. ARTWORK). OFFICIALS CALLED THE MUSEUM OVER IN THE MONTHS PRIOR TO THE DEMOLITION OF THE HALL IN ORDER TO INVENTORY SIGNIFICANT PROPERTY AND EVACUATE IT. THE BENCH'S ORIGINAL USE IS NOT KNOWN.
Catalogue Number
P19980048002
Acquisition Date
2002-02
Collection
Museum
Less detail
Date Range From
1920
Date Range To
1940
Material Type
Artifact
Materials
FELT
Catalogue Number
P20010115001
Material Type
Artifact
Date Range From
1920
Date Range To
1940
Materials
FELT
No. Pieces
1
Length
81
Width
35.5
Description
RED FELT TRIANGULAR PENNANT. WHITE CHRISTIAN CIRCULAR LOGO AND "YMCA" LETTERS. LOGO TEXT "SPIRIT MIND BODY JOHN 17:21" WHITE FELT EDGING AND TASSELS ON TOP. SOME SOILING. LABELED "K&C0 NY TRADEMARK"
Subjects
CEREMONIAL ARTIFACT
Historical Association
LEISURE
SPORTS
History
MATERIAL COLLECTED BY DONOR'S GRANDFATHER, W.M. LEVITT, GRANDMOTHER IDA LEVITT, FATHER F.A. LEVITT AND FATHER'S SISTERS KAY LEVITT AND ELLEDA LEVITT. W.M. LEVITT WAS AN INSURANCE AND INVESTMENT BROKER IN LETHBRIDGE IN THE 1910'S.
Catalogue Number
P20010115001
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
SHEET MUSIC
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19960000027
  2 images  
Material Type
Artifact
Other Name
SHEET MUSIC
Date Range From
1910
Date Range To
1920
Materials
PAPER
No. Pieces
1
Length
35.5
Width
26.2
Description
FOUR PAGE BOOKLET WITH SHEET MUSIC INSIDE. COVER HAS COLORED PAINTING OF A RIVER VALLEY WITH MOUNTAINS AND TREES IN THE BACKGROUND. TITLE ACROSS THE TOP READS "WHERE THE SILV'RY COLORADO WENDS ITS WAY". BENEATH AND TO LEFT OF TITLE IS "WORDS BY C.H. SCOGGINS MUSIC BY CHAS. AVRIL". AT BOTTOM LEFT CORNER OF COVER IN WHITE PRINTING IS "PUBLISHED FOR ALL INSTRUMENTS BAND AND ORCH." AND "ROSSITER CHICAGO PUBLISHER CHICAGO. ILL. SYDNEY AUSTRALIA. MX BY WILL ROSSITER". PORTION OF CORNER IS TORN AWAY. AT LOWER RIGHT OF COVER IS CIRCULAR BLACK STAMP WHICH READS "J.J.H. MACLEAN MUSIC DEALERS". BOTTOM OF STAMP IS WORN AWAY. INSIDE COVER HAS ADVERTISEMENT AND MUSIC FOR OTHER PRODUCTS. ON BACK COVER IS ADVERTISEMENT FOR OTHER MUSIC "I'D LOVE TO LIVE IN LOVE-LAND WITH A GIRL LIKE YOU". PAPER ON BOTH COVERS IS TORN BADLY WITH PORTIONS MISSING ALONG EDGES. SPINE OF BOOKLET IS WORN AS WELL AND TOP CORNER OF FRONT COVER AND INSIDES ARE DOG-EARED AND CREASED.
Subjects
DOCUMENTARY ARTIFACT
MUSICAL T&E
Historical Association
LEISURE
History
ARTIFACT WAS DISCOVERED IN CONSERVATION LAB WITHOUT DOCUMENTATION OR OTHER ASSOCIATIONS. IT HAS BEEN ACCEPTED INTO PERMANENT COLLECTION BY ACCESSION COMMITTEE WITHOUT HISTORY. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS AND EQUIPMENT. SHE NOTED THAT OF THE 21 BOOKS/SHEET MUSIC THAT WERE ACQUIRED IN 1996 WITH UNKNOWN ASSOCIATIONS OR DONORS, FIVE HAD THE NAME "ESTHER SPONHOLZ" WRITTEN IN PENCIL ON THEIR COVERS. SEARCHING FOR THAT NAME IN THE DIGITIZED LETHBRIDGE HERALD LED TO THE OBITUARIES OF ESTHER GROSE (NEE SPONHOLZ), HER BROTHER EARL, AND HER HUSBAND HARRY. GIVEN THAT ALL 21 OF THE MUSIC BOOKS WERE ACQUIRED AT THE SAME TIME AND ARE OF SIMILAR VINTAGE, IT IS LIKELY THAT THEY ALL BELONGED TO ESTHER SPONHOLZ PRIOR TO HER MARRIAGE TO HARRY GROSE IN 1937. IT REMAINS UNKNOWN HOW THE BOOKS ARRIVED AT THE GALT MUSEUM, AND WHO DONATED THEM. THE FOLLOWING BRIEF BIOGRAPHY OF ESTHER SPONHOLZ GROSE WAS DEVELOPED WITH INFORMATION FROM THE AFOREMENTIONED OBITUARIES. ESTHER DOROTHY SPONHOLZ WAS BORN IN 1917 NEAR MEDICINE HAT AND GREW UP IN THE AREA. SHE MET HARRY JAMES GROSE IN CALGARY AND THEY WERE MARRIED IN 1937. THEY LIVED IN MEDICINE HAT UNTIL 1949, WHEN THEY MOVED TO LETHBRIDGE, WHERE HARRY WAS A PARTNER IN NORRIE AND FAWCETT FARM EQUIPMENT. ESTHER WAS AN ACTIVE MEMBER OF THE FIRST BAPTIST CHURCH, AND AN ACCOMPLISHED PIANIST. WHEN HARRY DIED IN 1990, ESTHER MOVED TO CALGARY TO BE NEAR THEIR SON GLEN. ESTHER GROSE DIED ON JANUARY 10, 1996. SEE PERMANENT FILE FOR HARDCOPIES OF OBITUARIES.
Catalogue Number
P19960000027
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Other Name
SHEET MUSIC
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19960000030
  2 images  
Material Type
Artifact
Other Name
SHEET MUSIC
Date Range From
1910
Date Range To
1920
Materials
PAPER
No. Pieces
1
Length
34
Width
25.8
Description
TWO PAGE PAPER BOOKLET WITH SHEET MUSIC INSIDE. COVER HAS DOUBLE BORDERED AREA WITH WAVY LINES AND CIRCLES MOTIF. INSIDE BORDERED AREA IS FLOWER AND PLANT WITH "DEDICATED TO MY MOTHER". TO THE RIGHT IS TITLE "TELL MOTHER I'LL BE THERE" WITH A ROSE. BENEATH IS "A PATHETIC SONG AND CHORUS" AND "WORDS AND MUSIC BY CHAS. M. FILLMORE.". ACROSS BOTTOM OF COVER IS "A. COX & CO., MUSIC PUBLISHERS TORONTO, CANADA". AN AREA AT MIDDLE TOP HAS BEEN SCRATCHED OUT WITH BLACK INK AND "ESTHER SPONHOLZ" IS WRITTEN IN TOP RIGHT HAND CORNER. INSIDE HAS MUSIC IN IT. BACK HAS ADVERTISEMENT FOR MORE MUSIC FROM PUBLISHERS. PAPER IS BADLY WORN WITH TORN EDGES AND HANGING PIECES.
Subjects
DOCUMENTARY ARTIFACT
MUSICAL T&E
Historical Association
LEISURE
History
ARTIFACT WAS DISCOVERED IN CONSERVATION LAB WITHOUT DOCUMENTATION OR OTHER ASSOCIATIONS. IT HAS BEEN ACCEPTED INTO PERMANENT COLLECTION BY ACCESSION COMMITTEE WITHOUT HISTORY. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS AND EQUIPMENT. SHE NOTED THAT OF THE 21 BOOKS/SHEET MUSIC THAT WERE ACQUIRED IN 1996 WITH UNKNOWN ASSOCIATIONS OR DONORS, FIVE HAD THE NAME "ESTHER SPONHOLZ" WRITTEN IN PENCIL ON THEIR COVERS. SEARCHING FOR THAT NAME IN THE DIGITIZED LETHBRIDGE HERALD LED TO THE OBITUARIES OF ESTHER GROSE (NEE SPONHOLZ), HER BROTHER EARL, AND HER HUSBAND HARRY. GIVEN THAT ALL 21 OF THE MUSIC BOOKS WERE ACQUIRED AT THE SAME TIME AND ARE OF SIMILAR VINTAGE, IT IS LIKELY THAT THEY ALL BELONGED TO ESTHER SPONHOLZ PRIOR TO HER MARRIAGE TO HARRY GROSE IN 1937. IT REMAINS UNKNOWN HOW THE BOOKS ARRIVED AT THE GALT MUSEUM, AND WHO DONATED THEM. THE FOLLOWING BRIEF BIOGRAPHY OF ESTHER SPONHOLZ GROSE WAS DEVELOPED WITH INFORMATION FROM THE AFOREMENTIONED OBITUARIES. ESTHER DOROTHY SPONHOLZ WAS BORN IN 1917 NEAR MEDICINE HAT AND GREW UP IN THE AREA. SHE MET HARRY JAMES GROSE IN CALGARY AND THEY WERE MARRIED IN 1937. THEY LIVED IN MEDICINE HAT UNTIL 1949, WHEN THEY MOVED TO LETHBRIDGE, WHERE HARRY WAS A PARTNER IN NORRIE AND FAWCETT FARM EQUIPMENT. ESTHER WAS AN ACTIVE MEMBER OF THE FIRST BAPTIST CHURCH, AND AN ACCOMPLISHED PIANIST. WHEN HARRY DIED IN 1990, ESTHER MOVED TO CALGARY TO BE NEAR THEIR SON GLEN. ESTHER GROSE DIED ON JANUARY 10, 1996. SEE PERMANENT FILE FOR HARDCOPIES OF OBITUARIES.
Catalogue Number
P19960000030
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Other Name
STATIONARY DRAWERS
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
WOOD, BRASS
Catalogue Number
P19950050000
Material Type
Artifact
Other Name
STATIONARY DRAWERS
Date Range From
1910
Date Range To
1920
Materials
WOOD, BRASS
No. Pieces
89
Height
91
Length
83.5
Width
43.1
Description
TWO LARGE RECTANGULAR WOOD CHESTS WITH NUMEROUS DRAWERS BUILT INTO IT. CHEST HAS DARK STAINED WOOD PANELS ON SIDES. ON ONE CHEST THE MIDDLE PANEL ON THE LEFT SIDE HAS BEEN REPLACED WITH AN OLDER ONE WITH WORN FINISH. BACKS AND BOTTOMS OF CHEST ARE UNFINISHED AND NEITHER HAS A TOP. EACH CHEST CONTAINS 42 DRAWERS. THE DRAWERS ARE DIVIDED INTO THREE LEVELS WITH 14 DRAWERS ON EACH LEVEL. HOWEVER, FROM THE FRONT IT APPEARS THAT EACH ROW HAS THREE DRAWERS INSTEAD OF TWO. THIS IS BECAUSE THE MIDDLE AND RIGHT DRAWERS ARE ACTUALLY A SINGLE DRAWER WITH A WOOD DIVIDER. THE DRAWERS DOWN THE LEFT SIDE MEASURE 40.5CM X 25.5CM X 4CM. THE DRAW TO THE RIGHT MEASURES 52.1CM X 40.5CM X 4CM. THE LEFT DRAW HAS TWO HOLES AT BOTTOM FRONT. EACH DRAW ON LEFT HAS SINGLE BRASS TITLE PLATE WITH CURVED TAB HANDLE WHICH MEASURES 7.6CM X 3.3CM. THE LARGE DRAWER TO THE RIGHT HAS TWO TITLE PLATE/HANDLES THUS GIVING THE ILLUSION OF THREE DRAWERS ACROSS. SOME OF THE LARGER DRAWERS ARE MISSING THEIR WOOD DIVIDERS. BRASS TITLE PLATE/HANDLES HAVE SLIGHT AMOUNT OF OXIDIZATION ON THEM. SOME TITLE PLATE/HANDLES ARE MISSING AS WELL. THERE ARE TWO LOOSE DIVIDERS AND THREE BRASS TITLE PLATE/HANDLES.
Subjects
FURNITURE
Historical Association
FURNISHINGS
PROFESSIONS
History
DRAWERS WERE USED AS LEGAL STATIONARY DRAWERS IN THE ORIGINAL LAW OFFICE OF ABNER GLADSTONE VIRTUE, K.C. CIRCA 1910-1920. MR. VIRTUE PASSED AWAY IN JUNE,1960.
Catalogue Number
P19950050000
Acquisition Date
1995-09
Collection
Museum
Less detail
Other Name
OXFORDS
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
LEATHER, PAPER, FELT, WOOL
Catalogue Number
P19950067003
  2 images  
Material Type
Artifact
Other Name
OXFORDS
Date Range From
1910
Date Range To
1920
Materials
LEATHER, PAPER, FELT, WOOL
No. Pieces
2
Height
8.5
Length
25.5
Width
9.2
Description
ONE PAIR BLACK OXFORD LEATHER SHOES. FIVE EYELETS, WITH COTTON LACES. LEATHER AND PRESSED PAPER SOLES, WITH "9" STAMPED INTO ARCH. 2CM HEELS AND BALLS OF FEET SHOW HEADS OF NAILS WHERE REPAIRED. BLACK FELT TONGUES AND LINING, WITH WOOL INSOLES. INSOLES ARE WORN, WITH PARTS OF FABRIC MISSING. LEATHER UPPERS ARE CREASED AND WORN THROUGHOUT, AS ARE BOTTOM SOLES OF BOTH SHOES. ENDS OF LACES SLIGHTLY FRAYED.
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
History
SHOES WERE REPAIRED BY WILLIAM KONKIN, WHO DID ALL SHOE REPAIRS FOR FAMILY. SEE P19950067001-GA FOR MORE HISTORY. DOUKHOBOR ARTIFACT. *UPDATE* IN 2010 NICOLE HEMBROFF, COLLECTIONS ASSISTANT, CONTACTED ELSIE MORRIS NEE KONKIN (WHO DONATED THE ARTIFACTS ON BEHALF OF HER MOTHER) IN ORDER TO OBTAIN MORE INFORMATION ABOUT THE HISTROY OF THE OBJECTS AND THEIR CONNECTION TO THE DOUKHOBORS OF SOUTHERN ALBERTA. SEE BELOW. MORRIS HAD NOTHING NEW TO ADD. FOR MORE INFORMATION SEE PERMANENT FILE. FOR MORE INFORMATION SEE P19950067002. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING AN APRON DONATED BY ELIZABETH KONKIN. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. ELIZABETH KONKIN AKA ELSIE MORRIS IS THE DAUGHTER OF WILLIAM KONKIN AND ELIZABETH P. KONKIN (NEE WISHLOW). ELSIE WAS MARRIED TO TERRANCE GORDON “TERRY” MORRIS. TERRY PASSED AWAY AT THE AGE OF 88 ON OCTOBER 25, 2012. WILLIAM KONKIN PASSED AWAY MARCH 3, 1977 AT THE AGE OF 72. ELIZABETH KONKIN (NEE WISHLOW) WAS BORN IN CANORA, SK ON JANUARY 22, 1907, THE DAUGHTER OF PETER AND ELIZABETH WISHLOW (MAIDEN NAME UNKNOWN). AT THE AGE OF 6 SHE MOVED WITH HER FAMILY TO A DOUKHOBOR SETTLEMENT AT BRILLIANT, BC, THEN LATER HER FAMILY MOVED TO A DOUKHOBOR SETTLEMENT AT SHOULDICE, AB. IT WAS HERE THAT SHE MET AND MARRIED WILLIAM KONKIN. IN 1939, THE COUPLE MOVED TO THE VAUXHALL AREA TO FARM UNTIL THEIR RETIREMENT, AFTER WHICH THEY MOVED TO LETHBRIDGE. ELIZABETH PASSED AWAY AT THE AGE OF 93 ON APRIL 8, 2000. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD. THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN'S DOUKHOBOR COLONY. IN 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED FROM A TWO-PART INTERVIEW WITH KONKIN'S DAUGHTER, ELSIE MORRIS. A FULL HISTORY OF THE KONKIN FAMILY WAS CREATED USING THAT INTERVIEW AND CAN BE FOUND WITH THE RECORD P20160003002.
Catalogue Number
P19950067003
Acquisition Date
1995-10
Collection
Museum
Images
Less detail
Date Range From
1920
Date Range To
1950
Material Type
Artifact
Materials
PAPER, PLASTIC, PAINT
Catalogue Number
P19950049001
Material Type
Artifact
Date Range From
1920
Date Range To
1950
Materials
PAPER, PLASTIC, PAINT
No. Pieces
1
Length
37
Width
30
Description
PLASTIC DOLL HAS PAINTED GOLD HAIR, BROWN EYES, AND RED LIPS AND EYEBROWS. ARMS ARE ATTACHED BY ELASTIC STRING TO BODY, BODY IS HOLLOW. HAS GOLD PAINTED SHOES. DRESS AND HAT ARE MADE OF A CREPE (ONION?) PAPER WHICH IS YELLOWING AND HAS GOLD PAINT DECORATED SPOTS. HAT CURVES OVER TOP OF HEAD AND BENDS UP AT TOP AND SLIGHTLY BELOW CROWN. IS NAILED ON OVER HEAD. HAS TASSELS HANGING FROM THE SIDES. HAS STRIP OF PAPER CRISS-CROSSED OVER CHEST AND BACK WHICH IS NAILED ON, THEN IS GATHERED AROUND BODY AND NAILED IN PLACE TO FALL IN GATHERED PLEATS. HAS TWO LAYERS, ONE IS SHORTER THAN THE OTHER. HAS STRINGS OF TWISTED PAPER HANGING FROM FRONT AND BACK. FEET HAVE A HOLE IN THEM, NAILS ENDS ARE VISIBLE THROUGH THEM. FACE IS DENTED BY LEFT EYE. MINOR TEARING OF ENDS OF PAPER. HAS SMALL WATER STAINS ON DRESS. HAS "MADE IN JAPAN" ON BACK OF NECK.
Subjects
TOY
Historical Association
LEISURE
History
DONOR'S GRANDPARENTS WERE THE OWNERS OF THE ARTIFACTS DONATED. LEVI MACDONALD WAS BORN ON JULY 30, 1889, RESIDED IN LOWBANKS, ONTARIO. ON AUG. 14, 1896 ESTELLA AGNES CHALMERS WAS ALSO BORN THERE. THEY WERE MARRIED IN 1914 WHERE HE WORKED FOR HIS COUSIN IN AN IRON FOUNDRY AS A CARPENTER. MOVED TO BURDETT IN 1918 WHERE THE SAME COUSIN HAD A HOTEL AND LAND WHICH LEVI FARMED (VERY DRY YEAR). AFTER TWO UNSUCCESSFUL YEARS THEY MOVED TO TABER TO FARM AND START A HOUSEHOLD. LIVELIHOODS ARE EXPLAINED ON ATTACHED SHEET. DAUGHTER MARY ESTELLA MACDONALD WAS BORN IN MEDICINE HAT HOSPITAL ON DECEMBER 14, 1925. SON LEA HIRAM WAS BORN AT HER FAMILY HOME IN ONTARIO ON MARCH 11, 1928. BUILT A HOME IN 1947 WHERE THEY LIVED UNTIL HIS DEATH (1977) AND HER DEATH (1981). DONOR'S UNCLE STILL FARMS THE LAND HE GREW UP ON. HER MOTHER (MARY) LIVES IN BELLEVUE, WASHINGTON. HER HUSBAND AND THREE CHILDREN LIVE IN THE TABER HOME BUILT IN 1947. DOLL BELONGED TO DONOR'S MOTHER. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING PARTS OF SEVERAL ITEMS DONATED BY CLAIRE DAHLQUIST. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING FROM THE LETHBRIDGE HERALD. LEVI MACDONALD PASSED AWAY AT THE AGE OF 88 ON OCTOBER 6, 1977. HE WAS BORN IN WEST TILBURY TOWNSHIP, ESSEX COUNTY, ON ON JULY 30, 1889, THE SON OF HIRAM AND ALICE (MAIDEN NAME UNKNOWN) MACDONALD. IN 1914, LEVI MARRIED ESTELLA AGNES CHALMERS. IN 1918, THEY LIVED IN BURDETT AND THEN IN TABER IN 1921. ACCORDING TO HIS OBITUARY, “HE WAS ACTIVE IN THE ALBERTA FISH AND GAME ASSOCIATION FOR MANY YEARS AND WAS A MEMBER OF THE MASONIC LODGE, THE MOOSE LODGE, THE CANADIAN LEGION, AND THE ELKS. HE WAS A MEMBER OF THE REORGANIZED CHURCH OF JESUS CHRIST OF LATTER DAY SAINTS. ESTELLA AGNES MACDONALD (NEE CHALMERS) WAS BORN AND RAISED IN ONTARIO. ESTELLA PASSED AWAY AT THE AGE OF 84 ON MAY 11, 1981. LEA HIRAM MACDONALD WAS BORN IN LOWBANKS, ON ON MARCH 11, 1928 AND GREW UP ON THE FAMILY FARM IN TABER. HE MARRIED BEVERLY AYERS IN GREAT FALLS, MT ON MARCH 10, 1958. HE PASSED AWAY AT THE AGE OF 79 ON SEPTEMBER 8, 2007. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILE ARTIFACTS AND ACCESSORIES, INCLUDING FIFTEEN ARTIFACTS DONATED BY CLAIRE DAHLQUIST. ATTEMPTS MADE TO CONTACT THE DONOR TO SPEAK ABOUT THE SPECIFIC ARTIFACTS AND THEIR USE WERE UNSUCCESSFUL.
Catalogue Number
P19950049001
Acquisition Date
1995-09
Collection
Museum
Less detail
Other Name
CHAUTAUQUA PUPPET STAND
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19970107001
Material Type
Artifact
Other Name
CHAUTAUQUA PUPPET STAND
Date Range From
1920
Date Range To
1930
Materials
WOOD
No. Pieces
3
Height
2.4
Length
122.5
102
Width
27
50.9
Description
THREE SECTION WOODEN PUPPET STAND, WITH A LARGE CENTRE PIECE, AND TWO SIDE FLAPS. BEIGE CENTRE PIECE HAS THE IMAGE OF A JESTER WEARING A STRIPED RED AND BLUE OUTFIT IN A CIRCLE IN THE CENTRE, SURROUNDED BY A CROWN ON THE TOP, AND BRITISH FLAG ON EACH SIDE. ONE SIDE FLAP HAS AN IMAGE OF A LION ON THE TOP, WHILE THE OTHER HAS THE HEAD OF A UNICORN, BUT OTHERWISE ARE THE SAME. FLAPS HAVE THE IMAGE OF NAKED WOMEN PLAYING 2 MUSICAL INSTRUMENTS IN THE CENTRE, WITH A DRAMATIC MASK ON THE BOTTOM. FLAPS ARE MOSTLY DARK GREEN, WITH A WHITE TRIM AROUND THE OUTSIDE EDGE.
Subjects
CEREMONIAL ARTIFACT
TOY
Historical Association
LEISURE
History
ACCORDING TO DONOR PIECE COULD BE AS EARLY AS 1924, AND USED AS A PUPPET STAND AT THE 'CHATAUQUA' FESTIVAL HELD IN LETHBRIDGE IN THE ALLEY BEHIND OLD ST. PAT'S ON 4TH AVENUE. DONOR WAS GIVEN THE PIECE FROM A GENTLEMAN IN HARDIEVILLE, WHOSE FATHER MAY HAVE BEEN HIRED AS A CASUAL WORKER TO SET UP THE PROPS. PUNCH AND JUDY WERE HAND PUPPETS POPULAR DURING THIS TIME. ON 6 OCTOBER 2010, DONOR AB CHERVINSKI WAS RE-CONTACTED IN AN EFFORT TO SOLICIT NEW INFORMATION ON THE PUPPET STAND. IT WAS ASSIGNED AS A RESEARCH PROJECT TO STUDENTS IN A UOFL MUSEUM STUDIES CLASS. WHEN CONTACTED BY THE STUDENTS, CHERVINSKI CLAIMED THAT THE STAND CAME INTO HIS POSSESSION IN THE 40S OR 50S. HE OBTAINED IT FROM A TRAVELLING CHAUTAUQUA GROUP WHO PERFORMED CHEAP ENTERTAINMENT IN TENTS AS FREELANCE WORK. THEY WERE, HE BELIEVED, TEMPORARILY LOCATED NORTH OF 3RD AVENUE AND 9TH STREET. AB’S INTEREST IN THEATRE AND HIS BUG TO COLLECT LED HIM TO COLLECT THE STAND. THE GROUP GAVE THE STAND UP FOR FREE ON ACCOUNT THAT THEY WERE ON THEIR LAST LEGS AND ABOUT TO DISBAND. TO SEE THE STUDENTS’ EMAIL, PLEASE REFERENCE THE PERMANENT FILE. AB CHERVINSKI WAS BORN IN LETHBRIDGE IN 1920 AT THE GALT HOSPITAL. HE STARTED WORK FOR AGT IN 1943 AND WORKED THERE FOR 37 YEARS, FIRST AT LETHBRIDGE, AND THEN BECAME AREA MANAGER FOR TABER. HE MOVED BACK TO LETHBRIDGE 4-5 YEARS AGO. AB HAD AN ANTIQUE STORE IN TABER FOR 5 YEARS. HE IS MARRIED TO BUELLA, AND HAS THREE CHILDREN, GEAN, KENNETH, AND LEONARD. PARENTS WERE MARY AND JOSEPH CHERVINSKI. FOR MORE INFO SEE 'THE WHO'S WHO IN SOUTHERN ALBERTA 1990-91 ED". *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON DEVELOPED A BIOGRAPHY OF AB CHERVINSKI, THE DONOR OF THIS OBJECT, WITH INFORMATION FROM LETHBRIDGE HERALD ARTICLES FROM 1982, 1989, AND 2011. ADAM ABRAHAM 'AB" CHERVINSKI WAS BORN ON FEBRUARY 24, 1920 IN LETHBRIDGE. AS A TEENAGER HE WORKED AS A MESSENGER BOY FOR THE CPR TELEGRAPH OFFICE. CHERVINSKI BRIEFLY LIVED IN ONTARIO DURING HIS SERVICE WITH THE AIR FORCE, BUT RETURNED TO LETHBRIDGE WHERE HE WORKED FOR ALBERTA GOVERNMENT TELEPHONES FOR 37 YEARS. HE WAS A LIFELONG COLLECTOR OF ANTIQUES, AVID LOCAL HISTORIAN, AND HEAVILY INVOLVED IN MUSICAL THEATRE. AB CHERVINSKI DIED ON JUNE 2, 2011. SEE PERMANENT FILE P19970107001-GA FOR HARDCOPIES OF NEWSPAPER ARTICLES ABOUT CHERVINSKI. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT SURVEY, WHICH INCLUDED A NUMBER OF ARTIFACTS DONATED BY ADAM ABRAHAM CHERVINSKI. EXTENSIVE RESEARCH CONDUCTED TO LOCATE THE DONOR'S LIVING NEXT-OF-KIN WAS UNSUCCESSFUL.
Catalogue Number
P19970107001
Acquisition Date
1997-10
Collection
Museum
Less detail
Other Name
HENDERSON LAKE WOODEN OAR
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19970107002
Material Type
Artifact
Other Name
HENDERSON LAKE WOODEN OAR
Date Range From
1920
Date Range To
1930
Materials
WOOD
No. Pieces
1
Length
60
Width
3.5
Description
WEATHERED GRAY WOODEN PADDLE WITH REMNANTS OF RED PAINT ON THE SURFACE. SURFACE IS CRACKED AND VERY WORN.
Subjects
WATER TRANSPORTATION-ACCESSORY
Historical Association
SAFETY SERVICES
LEISURE
History
ACCORDING TO DONOR THIS PARTICULAR ITEM WAS USED BY THE LIFEBOATS AT HENDERSON LAKE AROUND APPROX. 1936. ITEM WAS GIVEN TO THE DONOR BY HIS UNCLE, MR.OSTROSKI, THE SUPERINTENDENT OF THE WATER WORKS FOR THE CITY OF LETHBRIDGE, IN1936-7, WHEN IT CHANGED TO HAVING A PERMANENT LIFEGUARD ON SHORE ONLY. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON DEVELOPED A BIOGRAPHY OF AB CHERVINSKI, THE DONOR OF THIS OBJECT, WITH INFORMATION FROM LETHBRIDGE HERALD ARTICLES FROM 1982, 1989, AND 2011. ADAM ABRAHAM 'AB" CHERVINSKI WAS BORN ON FEBRUARY 24, 1920 IN LETHBRIDGE. AS A TEENAGER HE WORKED AS A MESSENGER BOY FOR THE CPR TELEGRAPH OFFICE. CHERVINSKI BRIEFLY LIVED IN ONTARIO DURING HIS SERVICE WITH THE AIR FORCE, BUT RETURNED TO LETHBRIDGE WHERE HE WORKED FOR ALBERTA GOVERNMENT TELEPHONES FOR 37 YEARS. HE WAS A LIFELONG COLLECTOR OF ANTIQUES, AVID LOCAL HISTORIAN, AND HEAVILY INVOLVED IN MUSICAL THEATRE. AB CHERVINSKI DIED ON JUNE 2, 2011. SEE PERMANENT FILE P19970107001-GA FOR HARDCOPIES OF NEWSPAPER ARTICLES ABOUT CHERVINSKI. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT SURVEY, WHICH INCLUDED A NUMBER OF ARTIFACTS DONATED BY ADAM ABRAHAM CHERVINSKI. EXTENSIVE RESEARCH CONDUCTED TO LOCATE THE DONOR'S LIVING NEXT-OF-KIN WAS UNSUCCESSFUL.
Catalogue Number
P19970107002
Acquisition Date
1997-10
Collection
Museum
Less detail
Other Name
WITH FRAME
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
WOOD, GLASS
Catalogue Number
P19970055005
Material Type
Artifact
Other Name
WITH FRAME
Date Range From
1910
Date Range To
1920
Materials
WOOD, GLASS
No. Pieces
3
Height
2.6
Length
21.7
Width
17.2
Description
GLASS PLATE NEGATIVE WITH IMAGE OF SMALL CHILD BURNED INTO IT. CHILD IS SITTING ON A BENCH, LOOKING AT HIM/HERSELF IN A MIRROR. CURTAIN VISIBLE ON LEFT. PLATE IS PRESSED INTO VARNISHED WOODEN FRAME, STAMPED WITH "CENTURY" AT BOTTOM BACK. FOUR BRACKETS TO HOLD BACKING. BACKING TO FRAME IS WOODEN BLOCK, APP. 1CM THICK, HINGED INTO TWO PORTIONS. EACH PORTION HAS HEAVILY TARNISHED BRASS PIECE WHICH PIVOTS ON RIVET, SECURING BENEATH BRACKETS OF FRAME. UNDERSIDE OF BACKING COVERED IN BURGUNDY FELT. FRAME SOILED.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
LEISURE
History
BELONGED TO DONOR'S HUSBAND, WHO HAD AVID INTEREST IN PHOTOGRAPHY. *UPDATE* IN 2018, COLLECTIONS INTERN KIRSTAN SCHAMUHN CONDUCTED A SURVEY OF PERSONAL ARTIFACTS. ON 26 NOVEMBER 2018, SCHAMUHN INTERVIEWED RUTH DAW REGARDING HER PRIOR DONATIONS. THE INFORMATION BELOW HAS BEEN EXTRACTED FROM THAT INTERVIEW: WHEN ASKED ABOUT THE NEGATIVE AND ITS TIES TO HER HUSBAND, CLIFF DAW, RUTH DAW RECALLED, “THIS WAS STUFF WE WERE CLEARING OUT THAT WE THOUGHT THE MUSEUM MIGHT BE INTERESTED IN [AFTER CLIFF DAW PASSED AWAY].” “HE WAS VERY MUCH INTO CAMERAS. HE JUST USED THEM A LOT.” WHEN ASKED IF CLIFF HAD A FAVOURITE CAMERA, RUTH DAW RESPONDED, “NO, I CAN’T REALLY SAY.” RUTH DAW RECALLED HER HUSBAND’S INTEREST IN PHOTOGRAPHY, SAYING, “[HE WOULD TAKE PHOTOS] ALL THE TIME. I HAVE ALBUMS AND ALBUMS. HE WAS CRAZY ABOUT FUNERALS…HE ALWAYS HAD HIS CAMERA WITH HIM.” “IT WAS JUST AN EXPRESSION. HE WOULDN’T REALLY TAKE PART IN A LOT OF THINGS BUT HE WOULD TAKE PICTURES AND HE LIKED TAKING PICTURES OF [OUR] DAUGHTERS. HE WOULD TAKE PICTURES OF GUYS [ON] THE HOCKEY TEAMS AND WEDDINGS AND FUNERALS…THE NORTH SIDE PEOPLE WERE VERY HAPPY ABOUT IT BECAUSE THEY OFTEN COULDN’T HIRE A PHOTOGRAPHER AND HE DIDN’T CHARGE ANYTHING FOR IT, IT WAS JUST HIS DONATION.” “HE’D ALWAYS HAVE THE KIDS BE PART OF THE PICTURE BUT HE WOULD ALSO [PHOTOGRAPH] THE GENERAL LANDSCAPE OF THE LAKES AND THE MOUNTAINS.” WHEN ASKED IF CLIFF EVER EXHIBITED HIS PHOTOGRAPHS, RUTH DAW REPLIED, ““[WITH] THE SKETCH CLUB. HE BELONGED TO THE SKETCH CLUB…AND WAS PRETTY GOOD. HE WAS ALSO AN AVID HIKER AND HE ALWAYS TOOK HIS CAMERA WITH HIM SO HE’D HAVE ALL KINDS OF [PHOTOS] THROUGH WATERTON.” PLEASE SEE PERMANENT FILE P19970055001 FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF ARTICLES REGARDING THE FAMILY HISTORY.
Catalogue Number
P19970055005
Acquisition Date
1997-06
Collection
Museum
Less detail

155 records – page 1 of 8.