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ORNAMENT, CHRISTMAS TREE

https://collections.galtmuseum.com/en/permalink/artifact7463
Other Name
GLASS BULBS/BALLS
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
GLASS, CARDBOARD
Catalogue Number
P19970067000
  2 images  
Material Type
Artifact
Other Name
GLASS BULBS/BALLS
Date Range From
1960
Date Range To
1970
Materials
GLASS, CARDBOARD
No. Pieces
30
Height
11
Length
31.5
Width
26
Description
NATURAL COLOURED CARDBOARD BOX DECORATED WITH EVERGREEN BRANCHES, CONTAINS A DOUBLE LAYER OF CHRISTMAS BALLS OF ASSORTED DESIGNS AND COLOURS. BOTTOM TRAY HAS 6 SOLID RED, AND ONE SILVER AND BLUE GLASS BALLS. TOP TRAY HAS 18 ASSORTED GLASS BULBS. TRAYS ARE CARDBOARD, AND HAVE A CARDBOARD SHEET SEPERATING THE TWO LAYERS. BOX HAS A CLEAR CELLOPHANE TOP TO VIEW BULBS. SOME TOPS OF THE BALLS ARE BROKEN, AND OTHERS STILL HAVE METAL HANGERS.
Subjects
ART
CEREMONIAL ARTIFACT
Historical Association
DECORATIVE ARTS
History
HISTORY UNKNOWN. DATE IS APPROXIMATE. *UPDATE* IN 2018 COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES, INCLUDING A WEDDING DRESS DONATED BY ELAINE MARTIN. ON 18 APRIL 2018, ELISE INTERVIEWED ELAINE MARTIN AT THE GALT MUSEUM. DURING THE INTERVIEW MARTIN PROVIDED FURTHER INFORMATION ABOUT EACH ARTIFACT DONATED AND THE FAMILY HISTORY. FOR THE INTERVIEW, PLEASE SEE PERMANENT FILE.
Catalogue Number
P19970067000
Acquisition Date
1997-07
Collection
Museum
Images
Less detail
Other Name
OUTDOOR CHRISTMAS DISPLAY
Date Range From
1950
Date Range To
1957
Material Type
Artifact
Materials
MASONITE, WOOD, PAINT
Catalogue Number
P20130025000
  2 images  
Material Type
Artifact
Other Name
OUTDOOR CHRISTMAS DISPLAY
Date Range From
1950
Date Range To
1957
Materials
MASONITE, WOOD, PAINT
No. Pieces
4
Height
145
Length
112
Width
5
Description
.1 - PIECE OF MASONITE BOARD CUT INTO THE SHAPE OF A HUMAN FIGURE. PAINTED IN RED, WHITE, BLACK AND GREEN TO DEPICT A SMILING MAN WITH A WHITE BEARD, WEARING A RED HAT AND SUIT WITH A BLACK BELT AND BOOTS. BACK OF BOARD IS REINFORCED WITH TWO VERTICAL SLATS OF WOOD. SOME SCRATCHES AND GENERAL GRIME ON THE PAINTED SIDE, WITH NAIL HEADS POKING OUT IN AREAS WHERE BACKING SLATS ARE FASTENED. END TIP OF HAT HAS BEEN PREVIOUSLY BROKEN OFF AND REPAIRED WITH GLUE AND REINFORCING PIECES OF WOOD ON BACK. .2 - PIECE OF MASONITE BOARD CUT INTO THE SHAPE OF A DEER. PAINTED IN GOLD, RED, BLACK AND WHITE TO DEPICT A REINDEER WITH A RED NOSE, WEARING A RED HARNESS WITH BELLS ON IT. BOARD IS REINFORCED AT BACK WITH PIECES OF 1X4 CUT TO SIZE. FIGURE IS MOUNTED TO A SECTION OF 2X2 AT ITS FEET, PAINTED WHITE. A PIECE OF 1X3 IS HINGED TO THE BACK OF THE FIGURE TO BE USED TO PROP THE OBJECT UPRIGHT. A BOW MADE OF RED DUCT TAPE IS FASTENED AT THE DEER'S THROAT. SCRATCHES AND GENERAL GRIME ON THE IMAGE SIDE; WOODEN PIECE REINFORCING TAIL AT BACK IS LOOSE. FRAGMENTS OF ROPE TIED TO TWO NAIL HEADS ON BACK. 93H X 33L X 7W .3 - PIECE OF MASONITE BOARD CUT INTO THE SHAPE OF A DEER WITH ANTLERS. PAINTED IN GOLD, RED, BLACK AND WHITE TO DEPICT A REINDEER WEARING A RED HARNESS WITH BELLS ON IT. BOARD IS REINFORCED AT BACK WITH PIECES OF 1X4 CUT TO SIZE. FIGURE IS MOUNTED TO A SECTION OF 2X2 AT ITS FEET, PAINTED WHITE. A PIECE OF 1X3 IS HINGED TO THE BACK OF THE FIGURE TO BE USED TO PROP THE OBJECT UPRIGHT. SCRATCHES AND MINIMAL WEAR ON THE IMAGE SIDE. LENGTH OF ROPE TIED TO NAIL HEAD ON BACK. 118.5H X 86L X 8W .4 - TWO SECTIONS OF WHITE ROPE, ONE BRAIDED AND ONE TWISTED, TIED TOGETHER TO FORM A SINGLE PIECE MEANT TO BE STRUNG AS REINS BETWEEN DEER FIGURES AND SANTA FIGURE. ENDS ARE KNOTTED OFF AND FRAYING. SIX METAL BELLS ARE TIED TO THE ROPE AT INTERVALS WITH BEIGE STRING. GENERAL GRIME AND DISCOLOURATION THROUGHOUT. 1054L X I.5DIA *NOTE* SLEIGH AND SEVEN OTHER REINDEER ACQUIRED AS EQUIPMENT.
Subjects
CEREMONIAL ARTIFACT
ART
Historical Association
DOMESTIC
DECORATIVE ARTS
History
THIS OUTDOOR CHRISTMAS DECORATION SET, INCLUDING SANTA CLAUS, RUDOPLH, EIGHT REINDEER AND SANTA'S SLEIGH, WAS BUILT BY STEVE LEONARD, THE FATHER OF THE DONOR DON LEONARD, FOR THE FAMILY’S YEARLY OUTDOOR CHRISTMAS DISPLAY AT THEIR LETHBRIDGE HOME AT 828 12 ST NORTH. IN OCTOBER 2013, GALT MUSEUM COLLECTIONS TECH KEVIN MACLEAN INTERVIEWED DON LEONARD ABOUT HIS FATHER’S DECORATIONS AND THEIR MEANING FOR HIS FAMILY. LEONARD SAID: “[THE SET] WAS MADE IN THE MIDDLE 50S I BELIEVE BY MY DAD. IT’S WON SEVERAL AWARDS FOR BEST CHRISTMAS DISPLAY, BEST LIGHT DISPLAYS IN LETHBRIDGE, AND IT WAS A LOT OF HEART AND LOVE PUTTING INTO THAT DISPLAY AND MY PARENTS LOVED TO DO THE CHRISTMAS DISPLAYS EVERY YEAR THEY COULD. THEY COULDN’T WAIT TO GET THEM UP AND THAT IT’S REALLY A PART OF ME AND I COULDN’T THROW IT OUT AND I DIDN’T KNOW WHAT I WAS GOING TO DO. I HAVE MY OWN DISPLAY… IN THE U.S. THAT THEY BUILT FOR ME, IDENTICAL TO IT, SO YOU CAN SEE THE LOVE THEY HAD IN MAKING THESE DISPLAYS… I CAN ACTUALLY REMEMBER MY DAD DRESSED UP AS SANTA CLAUS ONE YEAR AND I CAME HOME AND HE WAS SITTING IN THE SLEIGH… I WAS KIND OF SHOCKED WHEN I CAME HOME AND SANTA CLAUS WAS IN THERE STACKED UP WITH PRESENTS… [DAD] DID A LOT OF WOODWORKING. EVERYTHING IN THE HOUSE HERE PRETTY WELL HE BUILT… THE REST OF THE HOUSE WOULD BE DECORATED IN LIGHTS AND THEY ALWAYS LIKED TO DO TWO RED, TWO GREE, TWO RED TWO GREEN OVER THE WHOLE HOUSE. AND ALSO BEFORE THAT, LATER ON, THERE WAS A CANDY CANE MADE OUT OF A STOVEPIPE… I HELPED THEM PUT THE DISPLAYS OUT UNTIL I WENT TO COLLEGE, YEAH UNTIL ’68… IT WAS PROBABLY IN THE TOP TEN BEST DECORATED HOUSES IN THE CITY EVERY YEAR FOR PROBABLY FOR TWENTY/TWENTY-FIVE YEARS. IT WAS OUTSTANDING THEY ADDED SOMETHING NEW EVERY YEAR, MORE LIGHTS, CHANGED THE COLOURS, CHANGED HOW THEY DID IT. THE WHOLE HOUSE WAS DECORATED: EVERY WINDOW, THE ROOF, THE CARPORT, SOMETIMES THE BUSHES. I MEAN IT WAS BIG TIME DECORATION, THEY LOVED TO DO IT. THEY HAD A LOT OF FUN DOING IT… IT WAS A GREAT ATTRACTION. I CAN REMEMBER COUNTING HUNDREDS OF CARS COMING BY AT NIGHT, STOPPING AND LOOKING AND TAKING PICTURES, PARENTS TAKING THEIR KIDS OUT OF THE CAR AND PUTTING THEM IN THE SLEIGH AND TAKING PICTURES WITH THEM. MY PARENTS JUST LOVED SEEING THAT HAPPEN… MY DAD LIKED, AND MY MOTHER TOO, BUILDING STUFF. HE LIKED BUILDING DISPLAYS, HE HAD, DURING THE SUMMER, HE DID RABBITS AND SHEEP AND PUT THEM AROUND ALL THE PLANTS. AND THEY TOOK A LOT OF PRIDE, AS MUCH AS YOU COULD EVER TAKE IN YOUR YARD. THEY’RE WINNERS OF AWARDS FOR THE BEST YARD IN THE SUMMER, BEST FLOWERS. THEY JUST TOOK A LOT OF PRIDE IN HOW THE HOUSE LOOKED… YOU JUST THINK OF WHAT THEY DID FOR YOU, IT WAS HOW THEY BROUGHT YOU UP; IT WAS HOW THEY WERE GENEROUS TO OTHER PEOPLE AND HOW THEY LOVED EVERYBODY… IT IS JUST THE GENEROSITY THEY GAVE TO EVERYBODY AND WANTED TO HELP OTHER PEOPLE OUT AND HAVE THE FUN TIME ENJOYABLE. MORE THAN THE SANTA CLAUS IT WAS A RELIGIOUS HOLIDAY FOR THEM TOO… I AM JUST SO HAPPY KNOWING THAT SOMEBODY CAN HOPEFULLY ENJOY IT FOR MANY MORE YEARS… IT WOULD MAKE THEM UNBELIEVABLY HAPPY.” FOR FURTHER INFORMATION AND A TRANSCRIPT OF THE INTERVIEW, SEE PERMANENT FILE.
Catalogue Number
P20130025000
Acquisition Date
2013-10
Collection
Museum
Images
Less detail
Other Name
CAKE TOP DECORATION
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P19980024004
  1 image  
Material Type
Artifact
Other Name
CAKE TOP DECORATION
Date
1967
Materials
PLASTIC
No. Pieces
3
Height
24.5
Diameter
19.5
Description
CAKE TOP DECORATION WITH TWO WHITE DOVES ON A WHITE PLASTIC BASE, WITH A WREATH OF ARTIFICAL FLOWERS ABOVE. FLOWERS ARE WHITE AND LIGHT PINK. 1 WHITE PLASTIC BELL HANGS FROM THE TOP. ONE BIRD HAS A SILVER RING IN ITS MOUTH, AND THE OTHER ONE IS BROKEN OFF AND IS HANGING AROUND ITS NECK. 1 BELL MISSING. FLOWER GARLAND ALSO COMES OFF.
Subjects
ART
CEREMONIAL ARTIFACT
Historical Association
COMMEMORATIVE
History
CAKE TOPPER ON THE WEDDING CAKE OF MARG DRUMMOND AND SAM MATHESON ON JULY 7TH 1967. (DONOR TOLD US 7TH, BUT COMMEMORATIVE NAPKIN & MATCHES MARKED 8TH?) *UPDATED* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING TWO WEDDING DRESSES DONATED BY SAM AND MARG MATHESON. THE FOLLOWING INFORMATION WAS COMPILED FROM AN INTERVIEW CONDUCTED WITH THE DONORS. SAMUEL O. MATHESON AND MARGARET MATHESON (NEE DRUMMOND) WERE MARRIED IN JULY 1967 IN MARGARET’S HOME DOWN, MOOSOMIN, SK AT ST. ALBAN’S CHURCH. THEY HELD A SMALL RECEPTION IN THE CHURCH FOLLOWING THE CEREMONY, WITH 100 GUESTS. SAM SAID “THAT’S A SMALL TOWN. WHOEVER KNEW US CAME, I GUESS.” THE COUPLE HONEYMOONED AT EXPO ’67, DRIVING ALL THE WAY TO MONTREAL. MARGARET SAID THAT “IT WAS MORE INTERESTING THAN FUN, BECAUSE WE WERE GOING TO ALL OF THE PAVILIONS, SO IT WAS A LITTLE HECTIC – GETTING USED TO EACH OTHER, AND DOING THIS AT THE SAME TIME, BUT IT WAS GOOD.” MARGARET MET SAM, IN 1965, AFTER SHE LOCKED HERSELF OUT OF HER APARTMENT: “I LOCKED MYSELF OUT OF MY APARTMENT, WHICH WAS ON THE THIRD FLOOR. MY GIRLFRIEND LIVED NEXT TO ME, SO I THOUGHT THAT, IF WE COULD GET A MAN TO JUMP FROM HER BALCONY TO MINE, AND LET ME IN THROUGH THE DOORS – FRENCH DOORS ON OUR BALCONY.” SHE CONTINUED: “SO, I WENT UP TO THE FOURTH FLOOR AND HE ANSWERED THE DOOR AND SAID, SURE, HE WOULD DO IT.” SAM ADDED: “LIKE ONE OF THOSE MOVIES, YOU KNOW. CLIMB ON THE BALCONY, A HUNDRED FEET IN THE AIR … I CRAWLED OVER, BUT THEN MARGARET HAD LOCKED THE DOOR/ THE WINDOWS, AND WE COULDN’T GET INTO HER APARTMENT. THEY HAD TO FIND SOMEBODY TO GET INTO THE APARTMENT THROUGH THE REGULAR DOOR.” SHORTLY AFTERWARDS, THE BUILDING MANAGER CAME HOME AND LET MARGARET INTO HER APARTMENT. NOT LONG AFTER, THE TWO STARTED TO DATE. SAM TOOK HER TO A BINGO GAME. MARGARET SAID: “HE THOUGHT HE COULDN’T TAKE A TEACHER TO THE BAR, SO HE TOOK ME TO A BINGO GAME.” SAM WAS RAISED IN LETHBRIDGE, THE SON OF SAMUEL AND FLORENCE ISABELLE MATHESON (NEE OSGOOD): “I WAS BORN HERE, AND RAISED HERE, AND SPENT MY WHOLE LIFE, EXCEPT ABOUT 10 YEARS. I WAS IN THE AIR FORCE, AND ON THE DEW LINE, AND CAME BACK HOME. IT’S A PERFECT TOWN.” MARGARET, MEANWHILE, WAS RAISED IN MOOSOMIN, SK, THE DAUGHTER OF THOMAS AND MURIEL DRUMMOND, AND MOVED TO LETHBRIDGE FOR WORK: “I WAS A BIOLOGIST, AND THERE WAS AN OPENING HERE FOR A BIOLOGY TEACHER, SO I CAME AND TAUGHT SCIENCE AT WINSTON CHURCHILL. I CAME IN ’63, I GUESS, AND MET SAM IN ’65.” MARGARET CONTINUED TO TEACH AFTER THEY WERE MARRIED, UNTIL THEIR FIRST CHILD WAS BORN IN 1969. A SECOND CHILD FOLLOWED IN 1971 AND BY 1978, MARGARET WAS BACK TO TEACHING. MARGARET HAD THE FOLLOWING TO SAY ABOUT HER DRESS: “ACTUALLY I WAS UP IN EDMONTON, AND MY SISTER-IN-LAW HELPED ME BUY IT; COST ME A WHOLE $100.00. IN 1967 THAT WAS A LOT OF MONEY. I DON’T REMEMBER ANYTHING SIGNIFICANT ABOUT – I LOVED THE DRESS. WE WERE ALL INTO CHASTE THEN. I REMEMBER IT HAD A LONG TRAIN WHICH GOT CAUGHT ON ONE OF THE PEWS, AS I WAS GOING DOWN THE AISLE, BUT SAM’S BROTHER WAS AN USHER, SO HE GRABBED IT [BEFORE IT TORE]. HE SAW IMMEDIATELY WHAT HAD HAPPENED, SO I DIDN’T EVEN FEEL A TUG, BUT BUD TOLD ME AFTERWARDS THAT HE HAD DONE THIS.” MARGARET SAID THAT SHE DIDN’T TRY ON MANY DRESSES BECAUSE “I FELL IN LOVE WITH THIS ONE, ALMOST RIGHT AWAY.” ONE OF MARGARET’S SISTERS WAS HER BRIDESMAID AND SHE WORE A BLUE DRESS: “IT WAS KIND OF A SHOT-SILK BLUE. OUR WEDDING COLORS WERE BLUE AND WHITE. SHE MADE HER DRESS. IT WAS LOVELY. AND THEN, OUR NIECE’S DAUGHTER WAS OUR FLOWER GIRL. SHE WORE AN IDENTICAL DRESS TO THE BRIDESMAID.” AT THE END OF THE INTERVIEW, SAM SAID: “WE’VE BEEN MARRIED MORE THAN WE’VE BEEN SINGLE. I DIDN’T GET MARRIED TILL I WAS 35, AND I FIGURED I’D NEVER GET MARRIED, BUT I MET MARG, AND WE GOT MARRIED, AND 50 YEARS LATER, HERE WE ARE.” MARGARET ADDED: “HERE WE ARE – BOTH IN OUR 80’S, AND LOVING IT.” SEE PERMANENT FILE FOR A COPY OF THE INTERVIEW TRANSCRIPT.
Catalogue Number
P19980024004
Acquisition Date
1998-04
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
NYLON, POLYESTER, COTTON
Catalogue Number
P19960116152
  2 images  
Material Type
Artifact
Date Range From
1970
Date Range To
1980
Materials
NYLON, POLYESTER, COTTON
No. Pieces
2
Length
126
Width
110
Description
1. CHASUBLE: 126 X 110CM PINK NYLON-POLYESTER GARMENT IS PONCHO STYLE CLOAK WITH SLIGHTLY TAPERED SHOULDERS. COLLAR IS ROUND WITH FLY OPENING AT BACK AND SNAP CLOSURE. CHASUBLE HAS GREEN LINING AND GREEN FELT STRIP DOWN CENTER OF BOTH SIDES. FRONT HAS LARGE GOLD LETTERS WITH GREEN EDGING THAT READ "IHS" WITH A SIMILAR STYLE CROWN ABOVE. SEWN INTO FRONT OF LINING ARE TWO LABELS. ONE READS "BY GASPARD GREATER LITURGICAL ART WINNIPEG CANADA". SECOND LABEL HAS "ORNEMENTS D'EGLISE GLOIRE CONFECTIONNES AU CANADA". BACK OF CHASUBLE HAS TWO SMALL WINE STAINS. 2. STOLE: 225 X 10CM STOLE MADE OF SAME MATERIAL AS CHASUBLE WITH IDENTICAL GREEN LINING. STOLE HAS GREEN FELT CHEVRON ON BOTH ENDS AND ENDS ARE TAPERED TO BROAD POINT. STOLE HAS CURVE CUT AT NECK WITH COTTON COLLAR WITH LACE. ALSO AT NECK IS GREEN FELT CROSS. STOLE HAS SMALL WINE STAIN.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
HEALTH SERVICES
History
CHASUBLE WAS REMOVED FROM THE CHAPEL AT ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. FOR MORE HISTORY ON HOSPITAL SEE P19960116001-GA.
Catalogue Number
P19960116152
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
MANMADE FIBRE, COTTON
Catalogue Number
P19900013016
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
MANMADE FIBRE, COTTON
No. Pieces
1
Length
114
Width
45
Description
GILDED METAL CHAIN & CLIP FASTENERS ACROSS FRONT AT COLLAR. EMBROIDERED "Y" PANEL ON BACK WITH TASSEL, CROSS & GREEK CHIRO SYMBOLS IN CIRCLE. FRONT 2 EMBROIDERED PANELS. COPE HANGS OPEN, HELD BY COLLAR FASTENERS. HUNG ON VELVET COVERED PADDED HANGER. CHAIN ADN CLIP ARE EMBOSSED WITH ALPHA & OMEGA. CAPE HAS GOLDEN LINER. LABEL IS SEWN TO INSIDE WITH "GASPARD CREATORS OF LITURGICAL ART. WINNIPEG, CANADA". HEAVILY STAINED FROM USE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
USED AT ADVENT AND LENT SERVICES. WORN OVER CHASUBLE & STOLE. OBLATES ACTIVE IN LETHBRIDGE AREA SINCE 1ST BAPTISM AT FORT HAMILTON BY FATHER SCOLLEN IN 1873. FATHER VAN TIGHEM CELEBRATED THE 1ST MASS IN 1884 IN COALBANKS. THEREAFTER ESTABLISHING A PARISH IN 1886 & BUILDING 1ST ST. PATRICKS CHURCH IN 1887 IN SEPTEMBER VAN TIGHEM MOVED TO NEW PARISH AS ITS PRIEST. THE OBLATE OF MARY IMMACULATE (OMI) HISTORICALLY SOMETIMES CALLED THE BLACKROBES BECAUSE OF THEIR CHARACTERISTIC BLACK ROBES. THE OBLATES ARE RETIRING FROM LETHBRIDGE IN JULY .1990. THIS ROBE WAS NORMALLY WORN WITH A CINCTURE OR BELT SNAP FASTENED AT THE WAIST WITH A LARGE CROSS (12.7 X 20.4) & HUNG BY A CORD FROM THE NECK.
Catalogue Number
P19900013016
Acquisition Date
1990-07
Collection
Museum
Images
Less detail
Other Name
PERUVIAN PLAQUE
Material Type
Artifact
Materials
WOOD, LEATHER
Catalogue Number
P19980048014
  1 image  
Material Type
Artifact
Other Name
PERUVIAN PLAQUE
Date
1993
Materials
WOOD, LEATHER
No. Pieces
1
Height
2.5
Length
43.4
Width
32.3
Description
THE BASE OF THE PLAQUE IS MADE OF LIGHT COLORED WOOD. INSTEAD OF THE STANDARD METAL PLATE ON WHICH INFORMATION IS PRESENTED, THIS PLAQUE USES A PIECE OF LEATHER. AT THE TOP OF THE LEATHER PIECE, THERE IS THE FOLLOWING WRITING, "LA ALCALDESA REGIDORES DE LA MUNICIPALIDAD PROVINCIAL DE ICA". BESIDE THIS WRITING IS A SLIGHTLY STYLIZED DRAWING OF THEIR SHIELD. AT THE BOTTOM OF THE PLAQUE, THERE IS A QUAINT STYLISTIC IMAGE OF THE PERUVIAN COUNTRYSIDE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
COMMEMORATIVE
POLITICS
History
THIS PLAQUE, FROM ICA, PERU CELEBRATES THE PROFESSIONAL EXCHANGE PROGRAM BETWEEN THE PERUVIAN CITY AND LETHBRIDGE. THIS EXCHANGE WAS MEANT TO ASSIST IN THE DEVELOPMENT OF THE ICA BUREAUCRACY, MAKING IT MORE EFFICIENT, AND MODERN. HOWEVER, THIS WAS NOT PARTICULARLY SUCCESSFUL SINCE WITH EACH NEW MAYOR (A MAYOR COULD BY LAW ONLY SERVE ONE TERM), AN ENTIRELY NEW BUREAUCRACY WAS INSTATED, THEREFORE, ANY KNOWLEDGE THE PREVIOUS BUREAUCRACY WOULD HAVE GAINED THROUGH THIS EXCHANGE WAS LOST WHEN THEY WERE REPLACED. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING INFORMATION ABOUT THE PROFESSIONAL EXCHANGE PROGRAM BETWEEN ICA, PERU AND LETHBRIDGE WAS FOUND IN LETHBRIDGE HERALD ARTICLES FROM JANUARY 30 AND OCTOBER 16, 1991. IN JANUARY 1991 THE MAYOR AND CITY DIRECTOR OF ICA, PERU VISITED LETHBRIDGE FOR 10 DAYS TO OBSERVE THE OPERATION OF VARIOUS CITY DEPARTMENTS THROUGH THE MUNICIPAL PROFESSIONAL EXCHANGE PROJEXT. THE PURPOSE OF THE PROGRAM WAS TO MATCH MANAGERIAL AND TECHNICAL EXPERTS IN CANADIAN MUNICIPALITIES WITH THEIR COUNTERPARTS IN DEVELOPING COUNTRIES. AT THE TIME OF THE EXCHANGE, ICA WAS A COMMUNITY OF 200,000 PEOPLE, WITH AGRICULTURE AND WINE PRODUCTION BEING ITS TWO LARGEST INDUSTRIES. A SECOND PERUVIAN DELEGATION VISITED LETHBRIDGE IN OCTOBER 1991, AND A THIRD WAS MEANT TO ARRIVE IN EARLY 1992, BUT NO ARTICLES WERE FOUND TO SUGGEST THAT THE PROGRAM CONTINUED FURTHER. SEE PERMANENT FILE FOR HARDCOPIES OF SOURCE ARTICLES.
Catalogue Number
P19980048014
Acquisition Date
2002-02
Collection
Museum
Images
Less detail
Other Name
PERUVIAN PLAQUE
Material Type
Artifact
Materials
WOOD, LEATHER
Catalogue Number
P19980048015
  1 image  
Material Type
Artifact
Other Name
PERUVIAN PLAQUE
Date
1994
Materials
WOOD, LEATHER
No. Pieces
1
Height
1.6
Length
42.8
Width
32.5
Description
BASE OF PLAQUE IS MADE OF A DARK BROWN WOOD. INSTEAD OF THE USUAL METAL PLATE USED FOR COMMUNICATIVE PURPOSES, THIS PLAQUE HAS LEATHER ATTACHED TO THE WOOD. ON THIS LIGHT TAN LEATHER, THERE IS WRITTEN ACROSS THE TOP IN AN ARC LIKE FASHION, "MUNICIPOLIDAD PROVINCIAL DE ICA" UNDER THIS IS A PICTURE OF THE ICA PERU SHIELD WITH A KNIGHT'S HELMET AT THE TOP. BENEATH THIS IS A SMALL PARAGRAPH THANKING MAYOR CARPENTER (1986-2001) AND THE CITY OF LETHBRIDGE FOR THE KNOWLEDGE EXCHANGE THAT TOOK PLACE. AT THE BOTTOM OF THE PLAQUE, IS A PICTURESQUE IMAGE OF A PERUVIAN SCENE WITH A SMALL HUT - LIKE STRUCTURE, SOME REEDS, WHAT LOOKS LIKE LARGER BUILDING IN THE BACKGROUND, AND SOME SORT OF A STRUCTURE OFF TO THE LEFT WITH THE IMAGE OF A BIRD (FLAMINGO) ON IT.
Subjects
CEREMONIAL ARTIFACT
Historical Association
COMMEMORATIVE
POLITICS
History
THIS PLAQUE, FROM ICA PERU CELEBRATES THE PROFESSIONAL EXCHANGE PROGRAM BETWEEN THE PERUVIAN CITY AND LETHBRIDGE. THIS EXCHANGE WAS MEANT TO ASSIST IN THE DEVELOPMENT OF THE ICA BUREAUCRACY, MAKING IT MORE EFFICIENT, AND MODERN. HOWEVER, THIS WAS NOT PARTICULARLY SUCCESSFUL SINCE WITH EACH NEW MAYOR (A MAYOR COULD BY LAW ONLY SERVE ONE TERM), AN ENTIRELY NEW BUREAUCRACY WAS INSTATED, THEREFORE, ANY KNOWLEDGE THE PREVIOUS BUREAUCRACY WOULD HAVE GAINED THROUGH THIS EXCHANGE WAS LOST WHEN THEY WERE REPLACED. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING INFORMATION ABOUT THE PROFESSIONAL EXCHANGE PROGRAM BETWEEN ICA, PERU AND LETHBRIDGE WAS FOUND IN LETHBRIDGE HERALD ARTICLES FROM JANUARY 30 AND OCTOBER 16, 1991. IN JANUARY 1991 THE MAYOR AND CITY DIRECTOR OF ICA, PERU VISITED LETHBRIDGE FOR 10 DAYS TO OBSERVE THE OPERATION OF VARIOUS CITY DEPARTMENTS THROUGH THE MUNICIPAL PROFESSIONAL EXCHANGE PROJEXT. THE PURPOSE OF THE PROGRAM WAS TO MATCH MANAGERIAL AND TECHNICAL EXPERTS IN CANADIAN MUNICIPALITIES WITH THEIR COUNTERPARTS IN DEVELOPING COUNTRIES. AT THE TIME OF THE EXCHANGE, ICA WAS A COMMUNITY OF 200,000 PEOPLE, WITH AGRICULTURE AND WINE PRODUCTION BEING ITS TWO LARGEST INDUSTRIES. A SECOND PERUVIAN DELEGATION VISITED LETHBRIDGE IN OCTOBER 1991, AND A THIRD WAS MEANT TO ARRIVE IN EARLY 1992, BUT NO ARTICLES WERE FOUND TO SUGGEST THAT THE PROGRAM CONTINUED FURTHER. SEE PERMANENT FILE FOR HARDCOPIES OF SOURCE ARTICLES.
Catalogue Number
P19980048015
Acquisition Date
2002-02
Collection
Museum
Images
Less detail
Other Name
STAR OF DAVID, ARCHITECTURAL SALVAGE
Material Type
Artifact
Materials
CAST IRON, PAINT
Catalogue Number
P20130024002
  1 image  
Material Type
Artifact
Other Name
STAR OF DAVID, ARCHITECTURAL SALVAGE
Date
1956
Materials
CAST IRON, PAINT
No. Pieces
1
Height
8
Length
78
Width
91
Description
SIX STRIPS OF STEEL WELDED INTO SYMMETRICAL STAR SHAPE, PAINTED BLUE. FOUR STEEL TABS ON BACK ATTACHED AT RIGHT ANGLES TO THE LARGER STRUCTURE. MINOR SCRATCHES AND AREAS OF PAINT LOSS, WHERE RED BASECOAT IS VISIBLE.
Subjects
CEREMONIAL ARTIFACT
BUILDING COMPONENT
Historical Association
RELIGION
History
ON MAY 14, 2014 COLLECTIONS TECH KEVIN MACLEAN INTERVIEWED THE DONOR, GARRY KOHN, ABOUT HIS ROLE IN LETHBRIDGE’S JEWISH COMMUNITY SINCE 1968 AND THE DONATION OF TWO RELATED ARTIFACTS, A STAR OF DAVID THAT WAS INSTALLED ON THE OUTSIDE OF THE BETH ISRAEL SYNAGOGUE BUILDING (P20130024002-GA) AND A HANDMADE REPRODUCTION OF THE TABLETS OF THE COVENANT (P20130024001-GA). REGARDING THIS ARTIFACT, KOHN SAID “[IT] WAS DECIDED WHEN THEY TOOK OVER THE BUILDING, THAT IF IT WAS GOING TO BE FERRARI WESTWOOD ARCHITECTS, THE STAR OF DAVID WASN’T AN APPROPRIATE THING TO HAVE ON THE MAIN COLUMN OR TOWER OF THE BUILDING… AT FIRST WE DIDN’T KNOW WHAT TO DO WITH IT. WE WERE THERE, THEY HAD A CRANE UP AND TO HAVE TO CUT IT OFF BECAUSE IT WAS STEEL BARS RIGHT INTO THE BRICK OF THE BUILDING. THEY TOOK IT DOWN AND PUT IT IN THE YARD AND ONE OF THE OTHER – THAT NIGHT, IT DIDN’T GET PUT INSIDE THE BUILDING – ONE OF THE OTHER MEMBERS OF THE JEWISH COMMUNITY CAME BY AND SAW IT LAYING IN THE FRONT YARD BECAUSE IT WAS SUPPOSED TO GO BACK INSIDE OF THE BUILDING AND HE SAW IT THERE AND THOUGHT, “THAT’S NOT RIGHT”, AND SO HE TOOK IT HOME. AND THEN WE CAME BACK THE NEXT DAY, LOOKING FOR IT AND IT WAS GONE AND SO MINOR PANIC THEN. BUT THEN HE CAME AND SAID “NO, I’VE GOT IT”, AND HE BROUGHT IT BACK TO ME AND I BROUGHT IT DOWN HERE BECAUSE I DIDN’T WANT IT LOST. THE STAR OF DAVID IS NOT A JUDAIC RITUAL SYMBOL IN ACTUAL FACT, BECAUSE WE DON’T HAVE THAT TYPE OF THING. IT’S NOT THE SAME AS THE CRUCIFIX IS TO THE CHRISTIAN FAITH, BUT IT IS A SYMBOL OF JUDAISM. MORE TO THE POINT, IT BECAME THAT SYMBOL MORE SO EVEN IN THE SECOND WORLD WAR WHEN HITLER MADE ALL THE JEWS WEAR THE STAR FOR IDENTIFICATION. THAT’S WHERE IT’S IMPORTANT… THE FIRST THING WE THOUGHT OF WAS THE GALT MUSEUM… IT WOULD HAVE TO GO SOMEWHERE. WHAT’S THE POINT OF KEEPING IT IF IT’S GOING TO BE HIDDEN IN THE BASEMENT SOMEWHERE?” REGARDING LETHBRIDGE'S JEWISH COMMUNITY KOHN SAID, “I AM CURRENTLY THE PRESIDENT OF THE LETHBRIDGE HEBREW CONGREGATION, AND PROBABLY THE RELIGIOUS CHAIRMAN, THE SPIRITUAL LEADER OF THE COMMUNITY BECAUSE WE DO NOT HAVE A RABBI AND I’M WELL ENOUGH VERSED TO CONDUCT SERVICES AND LEAD THE COMMUNITY ALONG WITH THE HELP OF ONE OTHER PERSON, MR. JOEL BERMACK… I’M NOT A RABBI BUT RABBI MEANS TEACHER AND LEADER OF THE SERVICES, THE RELIGIOUS SERVICES, AND THAT’S BASICALLY WHAT I DO. BEING PRESIDENT AND LEADER OF A SMALL CONGREGATION THAT NUMBERS MAYBE TEN FAMILIES NOW, AT THE MOST… IT’S AN AGING COMMUNITY; WE HAVE PEOPLE WHO ARE DYING OR PASSING AWAY. I CONDUCT THE FUNERAL SERVICES, MAYBE ONE OR TWO A YEAR. IN THE LAST TEN YEARS, I WOULD SAY, I’VE CONDUCTED FIFTEEN BURIALS. IT’S A DWINDLING COMMUNITY… WE DON’T HAVE MUCH LEFT OF A COMMUNITY IF YOU COMPARED IT TO THE CONTRIBUTING MEMBERS AND THE PEOPLE WHO WERE HERE IN 1956 WHEN THE SYNAGOGUE WAS DEDICATED AND AFTER IT WAS BUILT. IT’S THE VERY SHADOW OF ITSELF, OF A VERY VIBRANT COMMUNITY THAT WAS IN LETHBRIDGE, WITH PEOPLE FROM VARIOUS WALKS OF LIFE, A LOT OF THEM BUSINESS PEOPLE, AND MAJOR PLAYERS IN THE DOWNTOWN LETHBRIDGE CORE… IT WAS SUCH A TIGHT COMMUNITY AND SO WELL KNOWN THAT NOBODY DATED EACH OTHER; THEY JUST DID EVERYTHING TOGETHER IN THE YOUTH GROUPS AND THAT TYPE OF THING. AND FOR AS MANY PEOPLE AS THERE WERE, AFTER HIGH SCHOOL AND THAT, THEY HEADED OUT AND FOUND PARTNERS ELSEWHERE… WHEN WE HAVE TO HAVE A RELIGIOUS SERVICE IN THE JEWISH FAITH, YOU HAVE TO HAVE TEN PEOPLE THERE, TEN MEN THEY SAY. THE CONSERVATIVE AND ORTHODOX BEND THAT TO INCLUDE WOMEN. IF YOU WANT TO SAY THE MEMORIAL PRAYER FOR THE ANNIVERSARY OF THE DEATH OF A PARENT, CALLED THE KADDISH, YOU HAVE TO HAVE TEN PEOPLE. IT’S REALLY TOUGH TO GET TEN PEOPLE ON ANY GIVEN DAY TO COME. ON THE HOLIEST DAY OF THE YEAR, YOM KIPPUR, THE DAY OF ATONEMENT, LAST YEAR WE HAD FIFTEEN PEOPLE. AND YOU HAVE TO HAVE THEM; YOU HAVE TO KEEP THAT QUORUM FOR THE ENTIRE LENGTH OF THE SERVICE, WHICH IS A MORNING SERVICE FROM NINE TILL TWELVE THIRTY OR TO ONE O’CLOCK. AND A LATE AFTERNOON AND EVENING SERVICE WHICH IS ANOTHER THREE HOURS. IT’S TOUGH TO KEEP PEOPLE WHO AREN’T OVERLY OBSERVANT IN THEIR FAITH, TO TIE THEM DOWN FOR THAT LENGTH OF TIME. AND YET IT’S THE OLD STORY, WHEN YOUR BACK’S AGAINST THE WALL, IF SOMEBODY EVER SAID ANYTHING OR MADE DEROGATORY COMMENTS, THEY WOULD COME, THEY WOULD BE AT THE FOREFRONT FOR DEFENSE. SO I AM INTENSELY PROUD OF MY HERITAGE. I THINK YOU’VE PROVED THAT ONE OUT, BUT WE DON’T GO OUT AND PREACH IT. IT’S NOT ALLOWED IN OUR FAITH… WHEN I CAME IN ’68, EVEN SOME OF THE PEOPLE WHO WERE HERE IN ’56 HAD PASSED ON, AND SO I DIDN’T KNOW SOME OF THEM BUT IT WAS A PRETTY VIBRANT COMMUNITY. WHEN WE HELD OUR SERVICES WE HAD A RABBI IN THOSE DAYS AND SERVICES WERE HELD FOR FRIDAY NIGHT AND SATURDAY MORNING SERVICES. WE HAD SUNDAY SCHOOL FOR THE CHILDREN IN THOSE DAYS, AND THAT WAS BEFORE WE’D HAD OUR CHILDREN. BY THE TIME WE HAD OUR CHILD IN 1974, THERE WAS NO LONGER A RABBI HERE, RABBI KALMAR BEING THE LAST ONE, WHO MOVED ON TO CALGARY. HE WAS SOMEWHAT OF A CHALLENGE FOR THE COMMUNITY HIMSELF, AND DIDN’T QUITE FIT THE BILL HERE, AND SO AT THAT POINT THERE WAS NOT ENOUGH OF A COMMUNITY TO ATTRACT A FULLTIME RABBI… SO FOR THE HOLY DAYS, THE HIGH HOLY DAYS, WE WOULD IMPORT A TEACHER OR AN EDUCATED PERSON OR SOMEBODY WHO COULD LEAD THE SERVICES, THAT WAS FULLY FAMILIAR, FROM CALGARY OR VANCOUVER TO WOULD COME IN FOR ROSH HASHANAH, THE NEW YEAR, OR YOM KIPPUR, THE DAY OF ATONEMENT, TEN DAYS LATER, AND LEAD THE SERVICES FOR THE CONGREGATION THERE. FOR THE REST OF THE YEAR, WE HAD ENOUGH PEOPLE WERE STILL CONVERSANT WITH THE RITUALS, THE PRACTICES, THE HEBREW, THE LITURGY, WHO COULD LEAD THE SERVICES BETTER THAN I CAN – SOME OF THE OLDER PEOPLE. SO WE JUST DID OUR OWN THING, AND WE DID IT… THIS NUMBER OF FAMILIES, CONSIDERING WHAT HAD BEEN DONE, FOR THE NUMBER OF FAMILIES WE HAD, WAS PRETTY IMPRESSIVE IN TERMS OF COMMITMENT TO THE LETHBRIDGE COMMUNITY AND INTEGRATION INTO IT. THE LETHBRIDGE JEWISH COMMUNITY DID NOT SECULARIZE ITSELF OR INSULATE ITSELF. WE TRIED TO BE ACTIVE IN ALL ASPECTS OF THE SOCIAL LIFE, THE FABRIC OF THE COMMUNITY… I WAS ONE OF THE ORIGINAL BOARD MEMBERS OF THE SOUTHERN ALBERTA ART GALLERY. I AND SEVERAL OTHER PEOPLE WERE MEMBERS OF THE KIWANIS CLUB. I CHAIRED THE MUSIC FESTIVAL FOR FIVE YEARS… THE OTHERS, MORE SO JUST IN BUSINESS AND BEING GOOD CORPORATE MEMBERS OF THE COMMUNITY, I WOULD SAY THAT… WE RAISE MONEY, AND AT FIRST HALF THE MONEY WAS KEPT TO SUPPORT AND SUBSIDIZE THE SYNAGOGUE BECAUSE OUR DUES COULDN’T DO THAT, AND THE OTHER HALF WAS GIVEN AWAY INTO THE LETHBRIDGE COMMUNITY. SO FOR YEARS… WE HAVE SUPPORTED, WE HAVE DONE THINGS LIKE UH, FURNISHED ROOMS AT ST. MICHAEL’S; AT THE REGIONAL HOSPITAL OVER THE YEARS. WE HAVE SCHOLARSHIPS FOR OUR COMMUNITY AT ALL THE HIGH SCHOOLS INCLUDING THE CATHOLIC SCHOOLS. WE HAVE SUPPORTED A NUMBER OF OTHER ORGANIZATIONS IN TOWN – THE BOYS AND GIRLS CLUB, THE HABITAT FOR HUMANITY, TO THE TUNE OF WELL IN EXCESS OF $5000 TO $7000 A YEAR. NOW THAT WE DON’T HAVE A SYNAGOGUE, ALL OF IT IS GOING TO IT, FOR THE PAST FOUR YEARS WE’VE GIVEN $5000 AND $6000 STRAIGHT OUT TO THE KIWANIS MUSIC FESTIVAL FOUNDATION… THE MONEY THAT WE RAISE GOES TO THAT, SO THAT’S PART OF THE CORPORATE CITIZENRY THAT WE TRY TO MAINTAIN. WE’VE MADE OUR LIVINGS HERE; THIS IS HOW WE CAN GIVE BACK TO THE COMMUNITY… [A FEW YEARS AGO] WE REALIZED HOW THE COMMUNITY WAS GETTING SMALLER AND SMALLER. THE COST OF KEEPING UP A BUILDING, ALTHOUGH THERE WAS NO TAXES TO PAY BECAUSE CHURCHES ARE EXEMPT FROM PROPERTY TAXES, THE MAINTENANCE ON A BUILDING AND HEATING IT IN WINTER TIME, WHETHER IT WAS USED OR NOT - OF 6700 SQUARE FEET - IT WAS PRETTY OLD, AND AS THE POPULATION WAS DWINDLING, HOW MUCH CAN YOU ASK PEOPLE TO GIVE TO SUPPORT SOMETHING THAT ONLY GETS USED A HALF DOZEN DAYS OF THE YEAR?... SO WE HAD A MEETING AND DECIDED THAT WE SHOULD TAKE A LOOK AND SEE WHAT WE COULD DO, IF WE COULD SELL THE BUILDING. THE IDEA WAS TO TRY AND GET A PLAN, A SUCCESSION PLAN, THAT, IF WE DID SELL IT, THEN WHAT WOULD WE DO? WE STILL WANTED A PLACE TO GATHER. WE DIDN’T WANT TO RENT A ROOM RANDOMLY IN A MALL OR A STRUCTURE OF SOME SORT, AND IT WAS ONLY THROUGH – WE PUT A SIGN IN THE WINDOW THAT IT WAS FOR SALE AND WE HAD ONE OR TWO PEOPLE CALL AND SAY THAT THEY MIGHT BE INTERESTED, BUT NOTHING THAT REALLY CAME TO FRUITION. IT WAS GOING TO BE AN EXPENSIVE PROPOSITION FOR EVERYBODY, BECAUSE WE HAD THE BUILDING APPRAISED, AND IT WAS WORTH A FAIR CHUNK OF COIN. BUT IT WAS GOING TO NEED SOME UPGRADING AND THAT TYPE OF THING. WELL, IN A CASUAL CONVERSATION OVER LUNCH AND CHATTING WITH ART FERRARI AND DAN WESTWOOD, MORE ART FERRARI, WHO WAS A GOOD FRIEND OF LES CALMAN AND MYSELF AND DAN SHAPIRO, HE SAID, “YOU KNOW, YOUR PREDECESSORS DESIGNED THIS BUILDING. YOU’RE IN A PRETTY SMALL SPACE ON 13TH STREET NORTH AND YOU’RE GROWING AND YOU’RE VERY BUSY, WHY DON’T YOU TAKE A LOOK AT THIS?” AND WE HAD A COUPLE OF LUNCHEONS AND IT JUST FELL, IT CAME TOGETHER. AND ART HAD WORKED FOR A JEWISH FAMILY WHEN HE WAS IN HIGH SCHOOL. HE’D WORKED FOR THE SCHECTORS AT HERB’S WESTERN WEAR AND HE HAD A LOVE FOR SOME OF THE PEOPLE HERE AND A RESPECT FOR THEM; LET’S PUT IT THAT WAY. AND HE SAID, “I’LL TELL YOU WHAT.” I SAID, “WE COULD LEASE YOU THE BUILDING AND KEEP THE SMALL SANCTUARY AND YOU COULD DO THE RENOVATION ON THE REST, AND HE SAID, “NO”, HE SAID, “HOW ABOUT WE BUY THE BUILDING FOR A MUTUALLY AGREED UPON APPRAISED PRICE, MINUS EXPENSES THAT WOULD BE ENCUMBERED WITH IT, THE SOIL TESTING AND THAT TYPE OF THING THAT HAS TO BE DONE”, HE SAYS, “AND WE’LL LEASE YOU BACK THE CHAPEL AS PART OF THE CONSIDERATION AGAINST THE ASKING PRICE. WE’LL LEASE IT TO YOU FOR NOTHING, FOR A DOLLAR, FOR TEN YEARS.”… AND THAT JUST FELL TOGETHER, SO WE DID A MINOR RENOVATION, REDECORATING AND REPAINTING AND FIX-UP OF THE SMALL CHAPEL, WHICH IS 600 SQ. FT. AND IT’S GOT A SMALL OFFICE, A 10 X 10 ROOM, IF THAT - 8 X 10? AND THEY TOOK OVER THE REST OF THE BUILDING [IN 2010]… IT’S BEEN A WONDERFUL RELATIONSHIP… THERE IS A JEWISH PRESENCE IN LETHBRIDGE STILL, EVEN THOUGH VERY MINUTE, AND WE TRY AND INVOLVE OURSELVES IN OTHER AREAS OF THE COMMUNITY TO LET PEOPLE KNOW THAT WE WANT TO BE GOOD CITIZENS AND PART OF THE CULTURAL FABRIC OF THE LETHBRIDGE COMMUNITY… “ SEE PERMANENT FILE FOR A TRANSCRIPT OF THE INTERVIEW, AND HARDCOPIES OF THE PROGRAM FROM THE 1956 DEDICATION SERVICE OF THE BETH ISRAEL SYNAGOGUE AND THE BOOK ‘LAND OF PROMISE; THE JEWISH EXPERIENCE IN SOUTHERN ALBERTA’.
Catalogue Number
P20130024002
Acquisition Date
2013-10
Collection
Museum
Images
Less detail
Other Name
TABLETS OF THE COVENANT, REPRODUCTION
Date Range From
1956
Date Range To
1980
Material Type
Artifact
Materials
WOOD, METAL, PAINT
Catalogue Number
P20130024001
  2 images  
Material Type
Artifact
Other Name
TABLETS OF THE COVENANT, REPRODUCTION
Date Range From
1956
Date Range To
1980
Materials
WOOD, METAL, PAINT
No. Pieces
1
Height
3
Length
64
Width
50
Description
TWO WOODEN PANELS, CARVED INTO RECTANGULAR SHAPES WITH ARCHED TOPS, FASTENED TOGETHER WITH TWO METAL HINGES AT BACK. SLATS OF WOOD ATTACHED WITH NAILS ALONG BOTTOM EDGE, TO ACT AS A BASE WHEN OBJECT STANDS VERTICALLY. PANELS ARE PAINTED WHITE AND MARBLED WITH GREEN AND RED STREAKS OF PAINT TO MIMIC STONE. HEBREW LETTERS ARE PAINTING ON THE FACE OF BOTH PANELS IN BLACK, AND EACH ARCHED TOP HAS A SYMMETRICAL FLOWER DESIGN IN BLACK. FLAKING, CHIPPING, AND PAINT LOSS THROUGHOUT; RUST ON METAL HINGES AND SCREWS.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
ON MAY 14, 2014 COLLECTIONS TECH KEVIN MACLEAN INTERVIEWED THE DONOR, GARRY KOHN, ABOUT HIS ROLE IN LETHBRIDGE’S JEWISH COMMUNITY SINCE 1968 AND THE DONATION OF TWO RELATED ARTIFACTS, A STAR OF DAVID THAT WAS INSTALLED ON THE OUTSIDE OF THE BETH ISRAEL SYNAGOGUE BUILDING (P20130024002-GA) AND A HANDMADE REPRODUCTION OF THE TABLETS OF THE COVENANT (P20130024001-GA). REGARDING THIS ARTIFACT, KOHN SAID “I FOUND [IT] WHEN I WAS DOWN IN THE BASEMENT OF THE SYNAGOGUE –NOT THE BASEMENT, WHAT YOU CALL THE BOILER ROOM AND STORAGE AREA, AND THERE WAS A PORTION OF EVERYTHING THAT WAS UPSTAIRS THAT WASN’T NEEDED WAS JUST CHUCKED DOWN THERE SO THERE WAS ALL KINDS OF THINGS DOWN THERE. THERE WAS SCHOOL DESKS FROM THE CLASSROOMS, TO HADASSAH MEMORABILIA, THE HADASSAH BEING THE LADIES’ AUXILIARY TO THE JEWISH COMMUNITY. IT WAS ONE OF OUR ORGANIZATIONS. AND HERE WAS THIS SET OF TABLETS THAT WAS DOWN THERE. WHERE THEY ORIGINATED, I HAVE NO IDEA AND NOBODY THAT WAS AROUND COULD TELL US… AND I FOUND THEM AND I SAID, “NO.” THEY WENT UPSTAIRS AND THEY STAYED UPSTAIRS FOR MAYBE FIVE, SIX YEARS ON THE PLATFORM NEXT TO THE, ON THE STAGE AREA THAT WE USED TO CONDUCT SERVICES AND IT WAS ONE OF THOSE THINGS THAT I JUST MADE SURE ENDED UP IN MY POSSESSION SO THAT WE COULD HAVE IT. THEY COULD HAVE STAYED IN THE CHAPEL BUT IT WASN’T NECESSARY. I FELT THAT THAT WAS AN ARTIFACT, ALONG WITH THAT THAT SHOULD BE HELD BY THE CITY OF LETHBRIDGE AS AN ARTIFACT TO COMMEMORATE THE CONTRIBUTIONS OF THE LETHBRIDGE JEWISH COMMUNITY TO THE CITY… THEY’RE THE TEN COMMANDMENTS IN ABBREVIATED FORM – THE “THOU SHALTS AND THOU SHALT NOTS”, FIVE AND FIVE. THAT’S THE FOUNDATION OF JUDAISM AND CHRISTIANITY. THAT’S IMPORTANT, AND I THINK THAT’S A NEAT THING TO HAVE FOR ANYBODY TO BE ABLE TO SEE.” REGARDING LETHBRIDGE'S JEWISH COMMUNITY KOHN SAID, “I AM CURRENTLY THE PRESIDENT OF THE LETHBRIDGE HEBREW CONGREGATION, AND PROBABLY THE RELIGIOUS CHAIRMAN, THE SPIRITUAL LEADER OF THE COMMUNITY BECAUSE WE DO NOT HAVE A RABBI AND I’M WELL ENOUGH VERSED TO CONDUCT SERVICES AND LEAD THE COMMUNITY ALONG WITH THE HELP OF ONE OTHER PERSON, MR. JOEL BERMACK… I’M NOT A RABBI BUT RABBI MEANS TEACHER AND LEADER OF THE SERVICES, THE RELIGIOUS SERVICES, AND THAT’S BASICALLY WHAT I DO. BEING PRESIDENT AND LEADER OF A SMALL CONGREGATION THAT NUMBERS MAYBE TEN FAMILIES NOW, AT THE MOST… IT’S AN AGING COMMUNITY; WE HAVE PEOPLE WHO ARE DYING OR PASSING AWAY. I CONDUCT THE FUNERAL SERVICES, MAYBE ONE OR TWO A YEAR. IN THE LAST TEN YEARS, I WOULD SAY, I’VE CONDUCTED FIFTEEN BURIALS. IT’S A DWINDLING COMMUNITY… WE DON’T HAVE MUCH LEFT OF A COMMUNITY IF YOU COMPARED IT TO THE CONTRIBUTING MEMBERS AND THE PEOPLE WHO WERE HERE IN 1956 WHEN THE SYNAGOGUE WAS DEDICATED AND AFTER IT WAS BUILT. IT’S THE VERY SHADOW OF ITSELF, OF A VERY VIBRANT COMMUNITY THAT WAS IN LETHBRIDGE, WITH PEOPLE FROM VARIOUS WALKS OF LIFE, A LOT OF THEM BUSINESS PEOPLE, AND MAJOR PLAYERS IN THE DOWNTOWN LETHBRIDGE CORE… IT WAS SUCH A TIGHT COMMUNITY AND SO WELL KNOWN THAT NOBODY DATED EACH OTHER; THEY JUST DID EVERYTHING TOGETHER IN THE YOUTH GROUPS AND THAT TYPE OF THING. AND FOR AS MANY PEOPLE AS THERE WERE, AFTER HIGH SCHOOL AND THAT, THEY HEADED OUT AND FOUND PARTNERS ELSEWHERE… WHEN WE HAVE TO HAVE A RELIGIOUS SERVICE IN THE JEWISH FAITH, YOU HAVE TO HAVE TEN PEOPLE THERE, TEN MEN THEY SAY. THE CONSERVATIVE AND ORTHODOX BEND THAT TO INCLUDE WOMEN. IF YOU WANT TO SAY THE MEMORIAL PRAYER FOR THE ANNIVERSARY OF THE DEATH OF A PARENT, CALLED THE KADDISH, YOU HAVE TO HAVE TEN PEOPLE. IT’S REALLY TOUGH TO GET TEN PEOPLE ON ANY GIVEN DAY TO COME. ON THE HOLIEST DAY OF THE YEAR, YOM KIPPUR, THE DAY OF ATONEMENT, LAST YEAR WE HAD FIFTEEN PEOPLE. AND YOU HAVE TO HAVE THEM; YOU HAVE TO KEEP THAT QUORUM FOR THE ENTIRE LENGTH OF THE SERVICE, WHICH IS A MORNING SERVICE FROM NINE TILL TWELVE THIRTY OR TO ONE O’CLOCK. AND A LATE AFTERNOON AND EVENING SERVICE WHICH IS ANOTHER THREE HOURS. IT’S TOUGH TO KEEP PEOPLE WHO AREN’T OVERLY OBSERVANT IN THEIR FAITH, TO TIE THEM DOWN FOR THAT LENGTH OF TIME. AND YET IT’S THE OLD STORY, WHEN YOUR BACK’S AGAINST THE WALL, IF SOMEBODY EVER SAID ANYTHING OR MADE DEROGATORY COMMENTS, THEY WOULD COME, THEY WOULD BE AT THE FOREFRONT FOR DEFENSE. SO I AM INTENSELY PROUD OF MY HERITAGE. I THINK YOU’VE PROVED THAT ONE OUT, BUT WE DON’T GO OUT AND PREACH IT. IT’S NOT ALLOWED IN OUR FAITH… WHEN I CAME IN ’68, EVEN SOME OF THE PEOPLE WHO WERE HERE IN ’56 HAD PASSED ON, AND SO I DIDN’T KNOW SOME OF THEM BUT IT WAS A PRETTY VIBRANT COMMUNITY. WHEN WE HELD OUR SERVICES WE HAD A RABBI IN THOSE DAYS AND SERVICES WERE HELD FOR FRIDAY NIGHT AND SATURDAY MORNING SERVICES. WE HAD SUNDAY SCHOOL FOR THE CHILDREN IN THOSE DAYS, AND THAT WAS BEFORE WE’D HAD OUR CHILDREN. BY THE TIME WE HAD OUR CHILD IN 1974, THERE WAS NO LONGER A RABBI HERE, RABBI KALMAR BEING THE LAST ONE, WHO MOVED ON TO CALGARY. HE WAS SOMEWHAT OF A CHALLENGE FOR THE COMMUNITY HIMSELF, AND DIDN’T QUITE FIT THE BILL HERE, AND SO AT THAT POINT THERE WAS NOT ENOUGH OF A COMMUNITY TO ATTRACT A FULLTIME RABBI… SO FOR THE HOLY DAYS, THE HIGH HOLY DAYS, WE WOULD IMPORT A TEACHER OR AN EDUCATED PERSON OR SOMEBODY WHO COULD LEAD THE SERVICES, THAT WAS FULLY FAMILIAR, FROM CALGARY OR VANCOUVER TO WOULD COME IN FOR ROSH HASHANAH, THE NEW YEAR, OR YOM KIPPUR, THE DAY OF ATONEMENT, TEN DAYS LATER, AND LEAD THE SERVICES FOR THE CONGREGATION THERE. FOR THE REST OF THE YEAR, WE HAD ENOUGH PEOPLE WERE STILL CONVERSANT WITH THE RITUALS, THE PRACTICES, THE HEBREW, THE LITURGY, WHO COULD LEAD THE SERVICES BETTER THAN I CAN – SOME OF THE OLDER PEOPLE. SO WE JUST DID OUR OWN THING, AND WE DID IT… THIS NUMBER OF FAMILIES, CONSIDERING WHAT HAD BEEN DONE, FOR THE NUMBER OF FAMILIES WE HAD, WAS PRETTY IMPRESSIVE IN TERMS OF COMMITMENT TO THE LETHBRIDGE COMMUNITY AND INTEGRATION INTO IT. THE LETHBRIDGE JEWISH COMMUNITY DID NOT SECULARIZE ITSELF OR INSULATE ITSELF. WE TRIED TO BE ACTIVE IN ALL ASPECTS OF THE SOCIAL LIFE, THE FABRIC OF THE COMMUNITY… I WAS ONE OF THE ORIGINAL BOARD MEMBERS OF THE SOUTHERN ALBERTA ART GALLERY. I AND SEVERAL OTHER PEOPLE WERE MEMBERS OF THE KIWANIS CLUB. I CHAIRED THE MUSIC FESTIVAL FOR FIVE YEARS… THE OTHERS, MORE SO JUST IN BUSINESS AND BEING GOOD CORPORATE MEMBERS OF THE COMMUNITY, I WOULD SAY THAT… WE RAISE MONEY, AND AT FIRST HALF THE MONEY WAS KEPT TO SUPPORT AND SUBSIDIZE THE SYNAGOGUE BECAUSE OUR DUES COULDN’T DO THAT, AND THE OTHER HALF WAS GIVEN AWAY INTO THE LETHBRIDGE COMMUNITY. SO FOR YEARS… WE HAVE SUPPORTED, WE HAVE DONE THINGS LIKE UH, FURNISHED ROOMS AT ST. MICHAEL’S; AT THE REGIONAL HOSPITAL OVER THE YEARS. WE HAVE SCHOLARSHIPS FOR OUR COMMUNITY AT ALL THE HIGH SCHOOLS INCLUDING THE CATHOLIC SCHOOLS. WE HAVE SUPPORTED A NUMBER OF OTHER ORGANIZATIONS IN TOWN – THE BOYS AND GIRLS CLUB, THE HABITAT FOR HUMANITY, TO THE TUNE OF WELL IN EXCESS OF $5000 TO $7000 A YEAR. NOW THAT WE DON’T HAVE A SYNAGOGUE, ALL OF IT IS GOING TO IT, FOR THE PAST FOUR YEARS WE’VE GIVEN $5000 AND $6000 STRAIGHT OUT TO THE KIWANIS MUSIC FESTIVAL FOUNDATION… THE MONEY THAT WE RAISE GOES TO THAT, SO THAT’S PART OF THE CORPORATE CITIZENRY THAT WE TRY TO MAINTAIN. WE’VE MADE OUR LIVINGS HERE; THIS IS HOW WE CAN GIVE BACK TO THE COMMUNITY… [A FEW YEARS AGO] WE REALIZED HOW THE COMMUNITY WAS GETTING SMALLER AND SMALLER. THE COST OF KEEPING UP A BUILDING, ALTHOUGH THERE WAS NO TAXES TO PAY BECAUSE CHURCHES ARE EXEMPT FROM PROPERTY TAXES, THE MAINTENANCE ON A BUILDING AND HEATING IT IN WINTER TIME, WHETHER IT WAS USED OR NOT - OF 6700 SQUARE FEET - IT WAS PRETTY OLD, AND AS THE POPULATION WAS DWINDLING, HOW MUCH CAN YOU ASK PEOPLE TO GIVE TO SUPPORT SOMETHING THAT ONLY GETS USED A HALF DOZEN DAYS OF THE YEAR?... SO WE HAD A MEETING AND DECIDED THAT WE SHOULD TAKE A LOOK AND SEE WHAT WE COULD DO, IF WE COULD SELL THE BUILDING. THE IDEA WAS TO TRY AND GET A PLAN, A SUCCESSION PLAN, THAT, IF WE DID SELL IT, THEN WHAT WOULD WE DO? WE STILL WANTED A PLACE TO GATHER. WE DIDN’T WANT TO RENT A ROOM RANDOMLY IN A MALL OR A STRUCTURE OF SOME SORT, AND IT WAS ONLY THROUGH – WE PUT A SIGN IN THE WINDOW THAT IT WAS FOR SALE AND WE HAD ONE OR TWO PEOPLE CALL AND SAY THAT THEY MIGHT BE INTERESTED, BUT NOTHING THAT REALLY CAME TO FRUITION. IT WAS GOING TO BE AN EXPENSIVE PROPOSITION FOR EVERYBODY, BECAUSE WE HAD THE BUILDING APPRAISED, AND IT WAS WORTH A FAIR CHUNK OF COIN. BUT IT WAS GOING TO NEED SOME UPGRADING AND THAT TYPE OF THING. WELL, IN A CASUAL CONVERSATION OVER LUNCH AND CHATTING WITH ART FERRARI AND DAN WESTWOOD, MORE ART FERRARI, WHO WAS A GOOD FRIEND OF LES CALMAN AND MYSELF AND DAN SHAPIRO, HE SAID, “YOU KNOW, YOUR PREDECESSORS DESIGNED THIS BUILDING. YOU’RE IN A PRETTY SMALL SPACE ON 13TH STREET NORTH AND YOU’RE GROWING AND YOU’RE VERY BUSY, WHY DON’T YOU TAKE A LOOK AT THIS?” AND WE HAD A COUPLE OF LUNCHEONS AND IT JUST FELL, IT CAME TOGETHER. AND ART HAD WORKED FOR A JEWISH FAMILY WHEN HE WAS IN HIGH SCHOOL. HE’D WORKED FOR THE SCHECTORS AT HERB’S WESTERN WEAR AND HE HAD A LOVE FOR SOME OF THE PEOPLE HERE AND A RESPECT FOR THEM; LET’S PUT IT THAT WAY. AND HE SAID, “I’LL TELL YOU WHAT.” I SAID, “WE COULD LEASE YOU THE BUILDING AND KEEP THE SMALL SANCTUARY AND YOU COULD DO THE RENOVATION ON THE REST, AND HE SAID, “NO”, HE SAID, “HOW ABOUT WE BUY THE BUILDING FOR A MUTUALLY AGREED UPON APPRAISED PRICE, MINUS EXPENSES THAT WOULD BE ENCUMBERED WITH IT, THE SOIL TESTING AND THAT TYPE OF THING THAT HAS TO BE DONE”, HE SAYS, “AND WE’LL LEASE YOU BACK THE CHAPEL AS PART OF THE CONSIDERATION AGAINST THE ASKING PRICE. WE’LL LEASE IT TO YOU FOR NOTHING, FOR A DOLLAR, FOR TEN YEARS.”… AND THAT JUST FELL TOGETHER, SO WE DID A MINOR RENOVATION, REDECORATING AND REPAINTING AND FIX-UP OF THE SMALL CHAPEL, WHICH IS 600 SQ. FT. AND IT’S GOT A SMALL OFFICE, A 10 X 10 ROOM, IF THAT - 8 X 10? AND THEY TOOK OVER THE REST OF THE BUILDING [IN 2010]… IT’S BEEN A WONDERFUL RELATIONSHIP… THERE IS A JEWISH PRESENCE IN LETHBRIDGE STILL, EVEN THOUGH VERY MINUTE, AND WE TRY AND INVOLVE OURSELVES IN OTHER AREAS OF THE COMMUNITY TO LET PEOPLE KNOW THAT WE WANT TO BE GOOD CITIZENS AND PART OF THE CULTURAL FABRIC OF THE LETHBRIDGE COMMUNITY… “ SEE PERMANENT FILE FOR A TRANSCRIPT OF THE INTERVIEW, AND HARDCOPIES OF THE PROGRAM FROM THE 1956 DEDICATION SERVICE OF THE BETH ISRAEL SYNAGOGUE AND THE BOOK ‘LAND OF PROMISE; THE JEWISH EXPERIENCE IN SOUTHERN ALBERTA’.
Catalogue Number
P20130024001
Acquisition Date
2013-10
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
PAPER, RIBBON, SEQUINS, FOIL, STYROFOAM, FELT, COTTON, METAL, PLASTIC
Catalogue Number
P20150022004
  1 image  
Material Type
Artifact
Date
1998
Materials
PAPER, RIBBON, SEQUINS, FOIL, STYROFOAM, FELT, COTTON, METAL, PLASTIC
No. Pieces
7
Height
17
Diameter
8
Description
ALL CHRISTMAS ORNAMENTS HAVE A ROUND STYROFOAM CENTRE. A: CHRISTMAS ORNAMENT. GOLD PAPER ON BODY, GATHERED AT THE TOP, WITH NARROW GOLD RIBBON (WITH PURPLE SPOTS PAINTED ON) AND WITH WIDE, FLEXIBLE GOLD RIBBON, WITH SMALL STARS IN THE FABRIC. SMALL SILVER COLOURED BUTTERFLY EARRING AFFIXED ON ONE OF FOUR PIECES OF WIDE GOLD RIBBON. HAND DRAWN MISTLETOE ALL THE WAY AROUND ORNAMENT, BELOW THE RIBBON. METAL WIRE FOR HANGING ORNAMENT. SMALL PAPER TAG ATTACHED READS: "LYNNE GREGSON 'CAN YOU FIND THE BUTTERFLY?'" DESIGNED BY LYNNE GREGSON, AN ARTIST KNOWN FOR HIDING BUTTERFLIES WITHIN HER WORKS. VERY GOOD CONDITION. B: CHRISTMAS ORNAMENT. GOLD SEQUINS ON BODY, WITH BLACK SEQUINS FORMING A JUDO BELT AROUND CENTRE OF ORNAMENT. TOPPED WITH FLEXIBLE GOLD FABRIC RIBBON AND FLEXIBLE GOLD WIRE WITH PLASTIC GOLD COLOURED STARS ATTACHED. CANADIAN OLYMPIC PIN ON GOLD FABRIC RIBBON, ABOVE TIE OF BLACK BELT. METAL WIRE FOR HANGING ORNAMENT. SMALL PAPER TAG ATTACHED READS: "JOE MELI". DESIGNED BY JOE MELI, A FOUR TIME OLYMPIAN. VERY GOOD CONDITION. C: CHRISTMAS ORNAMENT. GOLD AND SILVER COLOURED. BODY PRIMARILY MADE OF SILVER COLOURED STRAIGHT PINS, PUSHED INTO STYROFOAM BALL. VERTICLE STRIPES AROUND BALL: EIGHT STRIPES OF A SILVER/GOLD/BLACK RIBBON, FOUR STRIPES OF SILVER STRAIGHT PINS, AND FOUR STRIPES OF SILVER STRAIGHT PINS, WITH GOLD COLOURED THUMB TACKS. GOLD THREAD WOVEN ALL AROUND BALL. SILVER COLOURED CORDING FOR HANGING ORNAMENT. SMALL PAPER TAG ATTACHED READS: "LESLIE ROBINSON-GREENE '98" DESIGNED BY LESLIE ROBINSON-GREENE, A COSTUMER AT THE UNIVERSITY OF LETHBRIDGE DRAMA DEPARTMENT. VERY GOOD CONDITION. GOLD THREAD LOOSE IN PLACES, BUT IS STILL ATTACHED TO ORNAMENT. D: CHRISTMAS ORNAMENT. GREEN SEQUINS WITH WHITE STRAIGHT PINS PUSHED INTO STYROFOAM BALL. WHITE SATIN ROSETTES AT TOP OF ORNAMENT. METAL WIRE FOR HANGING ATTACHED TO VERY NARROW WHITE SATIN RIBBON. SMALL PAPER TAG ATTACHED READS: "FIRST SNOWFLAKES - DORY ROSSITER" DESIGNED BY DORY ROSSITER, A BROADCASTER WITH CTV NEWS. VERY GOOD CONDITION. E: CHRISTMAS ORNAMENT. BLUE FOIL PAPER BODY. SINGLE PIECE OF NARROW SILVER COLOURED RIBBON VERTICALLY AROUND ORNAMENT. STRAND OF PLASTIC CHRISTMAS LIGHTS VERTICALLY AROUND ORNAMENT, PERPENDICULAR TO SILVER RIBBON. LIGHTS ARE RED, YELLOW, GREEN, BLUE, AND PURPLE. STRAND OF LIGHTS GATHERED AT THE TOP OF ORNAMENT, WITH FIVE METAL BELLS (2 VERY SMALL, 2 SMALL, 1 MEDIUM SIZED), AND TWO PLASTIC, GOLD-COLOURED VIOLINS. SEVENTEEN SILVER COLOURED 16TH-NOTES STUCK ONTO BLUE FOIL. SILVER RIBBON FOR HANGING. SMALL PAPER TAG ATTACHED READS: "MIKE LEBLANC CJOC" DESIGNED BY MIKE LEBLANC, WHO WORKED FOR CJOC. VERY GOOD CONDITION. APPEARS THAT SEVERAL 16TH-NOTES HAVE FALLEN OFF OVER THE YEARS. FOIL IS SILVER WHERE THESE NOTES HAVE FALLEN OFF. SOME GLUE REMAINS IN THESE LOCATIONS. F: CHRISTMAS ORNAMENT. BLUE SPARKLES, WITH GOLD COLOURED "CFCN - CTV" PINS STUCK INTO THE STYROFOAM BALL. SEVERAL ITEMS DEOCRATE THE TOP OF THE ORNAMENT: GOLD COLOURED PINECONE; THREE PLASTIC PINE SPRIGS; GREEN PLASTIC LEAVES WITH SPARKLES; BLUE PLASTIC APPLE WITH SPARKLES; FOUR BLUE BERRIES ON LONG GREEN STEMS; GOLD COLOURED MICROPHONE; AND A SMALL, BLUE, FOIL WRAPPED (WITH GOLD STRING RIBBON) GIFT. NO HANGING SYSTEM. SMALL PAPER TAG ATTACHED READS: "TERRY VOGT, CFCN-TV" DESIGNED BY TERRY VOGT, WHO WORKED AT CFCN. (AS OF 2016, HE REMAINS WITH CTV NEWS) GOOD CONDITION. SPARKLES COME OFF WITH MINIMAL HANDLING. G: CHRISTMAS ORNAMENT. OFF-WHITE COTTON FABRIC, STRAIGHT PINNED ONTO STYROFOAM BALL AT TOP. FABRIC HANGS DOWN, LEAVING STYROFOAM EXPOSED AT BOTTOM OF ORNAMENT. PIECE OF BLACK STRING TIED WITH A SQUARE KNOT, HORIZONTALLY AROUND ORNAMENT. TOPPED WITH A LARGE WHITE POM-POM, ON TOP OF WHICH IS A HAT MADE OF RED FELT, A SMALL WHITE POM-POM, AND WHITE PIPE CLEANER. GIVES THE APPEARANCE OF SANTA WEARING A JUDOGI. WRITTEN ON FRONT OF JUDOGI: "LETHBRIDGE JUDO CLUB" WITH JAPANESE CHARACTERS ON REVERSE. NO PAPER TAG ATTACHED. DESIGNED BY YOSH SENDA, FOUNDER OF THE LETHBRIDGE KYODOKAN JUDO CLUB. FAIR TO GOOD CONDITION: LARGE POM-POM VERY LOOSELY ATTACHED TO MAIN PART OF ORNAMENT.
Subjects
CEREMONIAL ARTIFACT
Historical Association
DOMESTIC
History
THESE CHRISTMAS ORNAMENTS CAME FROM A HOLIDAY ARTISTAN MARKET HELD AT THE SOUTHERN ALBERTA ART GALLERY (SAAG) WHERE THE DONOR WORKED (FROM 1992-2003). IN AN ORAL INTERVIEW WITH THE DONOR, ANINE VONKEMAN, CONDUCTED BY KEVIN MACLEAN IN JUNE 2015, ANINE EXPLAINED THAT THE ORNAMENTS CAME FROM A “CELEBRITY CHRISTMAS TREE RAFFLE … WE WOULD GO INTO THE COMMUNITY AND ASK LOCAL CELEBRITIES … TO DECORATE AN ORNAMENT OF CHOICE ... AND SO THIS PARTICULAR YEAR, IT WAS A STYROFOAM BALL.” THE TREE AND ORNAMENTS WERE RAFFLED OFF AND ANINE’S FATHER, WIM, WON. SHE RECOUNTED THE EVENT SAYING: “MY PARENTS CAME TO THE SALE RELIGIOUSLY EVERY YEAR AND THEY WOULD BUY THEIR RAFFLE TICKET. AND BRIAN GALLANT WAS SANTA, WHO’S A VOLUNTEER FOR SAAG … AND IT WAS HIS JOB TO PULL THE RAFFLE TICKET OUT TO ANNOUNCE THE WINNTER. AND AT THIS PARTICULAR EVENT, MASON [DONOR’S SON] WAS THERE, AND HE WAS JUST LITTLE AND SO SANTA LET MASON PULL THE NAME … AND SANTA GAVE IT TO ME TO ANNOUNCE ON THE MIC TO EVERYBODY WHO WAS THERE WHO HAD WONT THE TREE AND IT WAS MY DAD. SO INSTEAD OF SAYING, ‘AND THE WINNER OF THE TREE IS WIM VONKEMAN’ I SAID ‘THE WINNER OF THE TREE IS’ – AND THEN I LOOKED AT THE PIECE OF PAPER – ‘MY DAD!’ AND I GOT SOME FLACK OVER THAT FROM MY BOSS, JOAN STEBBINS AT THE TIME, BUT WHATEVER, IT WAS LEGITIMATE.” ANINE CONTINUED, SAYING “SO MY PARENTS PUT THE TREE UP IN THEIR HOUSE IN PICTURE BUTTE FOR YEARS AND THEN WHEN MY DAD PASSED AWAY AND MY MOM MOVED INTO LETHBRIDGE IN 2008 SHE NEEDED TO DOWNSIZE SO SHE GAVE ME THE TREE. AND SOME OF THE ORNAMENTS HAD DETERIRORATED AND THEN AT MY HOUSE SOME OF THEM DETERIORATED EVEN FURTHER … THE ONES THAT I SALVAGED ARE OF PEOPLE THAT I THOUGHT WERE OF PARTICULAR IMPORTANCE TO THE COMMUNITY.” ANINE WAS BORN IN HOLLAND IN 1967 AND EMIGRATED TO CANADA WITH HER PARENTS (WIM AND TRUDY) AND TWO BROTHERS (ALWIN AND HERWIN) IN NOVEMBER 1981, FOLLOWING A FAMILY VACATION TO CANADA IN 1979. HER FAMILY SETTLED IN THE PICTURE BUTTE AREA TO FARM. HER FATHER HELPED TO ESTABLISH THE DUTCH-CANADIAN CLUB AND THE GALT 8 MINE SOCIETY. ANINE CAME TO LETHBRIDGE IN 1986 TO ATTEND THE UNIVERSITY OF LETHBRIDGE (U OF L) AND STARTED WORKING AT SAAG IN 1992, TWO WEEKS AFTER GRADUATING FROM THE U OF L. SHE BEGAN AS THE PUBLIC PROGRAMS COORDINATOR AND “WAS DOING MEDIA STUFF, VOLUNTEER COORDINATION, SPECIAL EVENTS COORDINATION AND STARTED THE ART AUCTION.” BY 2004 ANINE WAS WORKING AT THE GALT AS MARKETING/COMMUNICATIONS OFFICER. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND SEE P20150005000 FOR ADDITIONAL INFORMATION ON THE VONKEMAN FAMILY.
Catalogue Number
P20150022004
Acquisition Date
2015-06
Collection
Museum
Images
Less detail
Other Name
CASA GRAND OPENING RIBBON
Date Range From
2012
Date Range To
2013
Material Type
Artifact
Materials
SILK
Catalogue Number
P20130030002
  1 image  
Material Type
Artifact
Other Name
CASA GRAND OPENING RIBBON
Date Range From
2012
Date Range To
2013
Materials
SILK
No. Pieces
1
Length
228
Width
9.75
Description
LENGTH OF RED SILK RIBBON. HORIZONTAL EDGES ARE FACTORY-FINISHED; VERTICAL EDGES ARE ROUGHLY CUT, WITH FRAYED THREADS. MINOR CREASING THROUGHOUT; OVERALL VERY GOOD CONDITION.
Subjects
CEREMONIAL ARTIFACT
Historical Association
LEISURE
COMMEMORATIVE
History
THIS PIECE OF RIBBON WAS CUT DURING THE CEREMONY CELEBRATING THE OPENING OF CASA, LETHBRIDGE’S COMMUNITY ARTS CENTRE, ON MAY 14, 2013, AT 230 8 ST SOUTH. ACCORDING TO CITY OF LETHBRIDGE RECREATION AND CULTURE DEVELOPMENT MANAGER LORI HARASEM, SEVEN REPRESENTATIVES HELPED CUT THE RIBBON: STEPHEN GRAHAM (ROTARY CLUBS OF LETHBRIDGE), KRIS HODGSON (PRESIDENT, ALLIED ARTS COUNCIL), GLENN MILLER (ASSISTANT TO LETHBRIDGE EAST MLA BRIDGET PASTOOR), DR. MIKE MAHON (PRESIDENT, UNIVERSITY OF LETHBRIDGE), MAYOR RAJKO DODIC, GREG WEADICK (LETHBRIDGE WEST MLA), AND JIM HILLYER (LETHBRIDGE MP). IN AN EMAIL TO COLLECTIONS TECHNICIAN KEVIN MACLEAN, HARASEM DESCRIBED THE DAY’S EVENTS, WRITING: “[THE CEREMONY], ORIGINALLY SCHEDULED TO TAKE PLACE ON THE ROTARY PLAZA ON THE EAST SIDE OF THE BUILDING, WAS MOVED INDOORS DUE TO THE STRONG WINDS THAT DAY. ONCE THE SPEECHES WERE DONE, AND THE RIBBON WAS CUT, THE BUILDING WAS OPEN FOR TOURS WITH ALL SPACES BEING UTILIZED BY ARTISANS TO DEMONSTRATE TO THE PUBLIC THE VARIETY OF ACTIVITIES THAT WILL TAKE PLACE IN THE FACILITY… THE RIBBON WAS IN MY POSSESSION AS I WAS PART OF THE PLANNING COMMITTEE [FOR THE OPENING CEREMONY]… ONCE THE RIBBON CUTTING WAS OVER, I ASSISTED WITH MOVING THE STANCHIONS AND RIBBONS OUT OF THE WALKWAY, AND REALIZED THE SIGNIFICANCE OF THE RIBBON… [I] SUGGESTED WE PROVIDE IT TO THE GALT MUSEUM.” THE FOLLOWING INFORMATION ABOUT CASA WAS EXCERPTED FROM THE ALLIED ARTS COUNCIL WEBSITE. CASA IS A COLLABORATIVE INITIATIVE OF THE ALLIED ARTS COUNCIL AND THE CITY OF LETHBRIDGE. THIS UNIQUE FACILITY SETS A NEW STANDARD FOR INTERDISCIPLINARY ARTS CENTRES, AND PROMOTES EXPERIMENTATION, INCUBATION, AND LEARNING. CASA WAS BUILT TO SERVE A MULTI-GENERATIONAL COMMUNITY, WITH VARYING ART SKILL SETS AND INTERESTS IN A VARIETY OF DISCIPLINES. FUNDING FOR THE 42,000 SQUARE FOOT CENTRE WAS PROVIDED BY THE FEDERAL BUILD CANADA FUND, THE ALBERTA MUNICIPAL SUSTAINABILITY INITIATIVE FUND, AND THE CITY OF LETHBRIDGE. IN ADDITION TO PROVIDING EDUCATIONAL ARTS PROGRAMMING, VISUAL ARTS STUDIOS AND TECHNICAL WORKSHOPS, PERFORMING ARTS SPACES, AND AN EXHIBITION GALLERY, CASA ALSO HOUSES THE UNIVERSITY OF LETHBRIDGE’S CONSERVATORY OF MUSIC. ON SEPTEMBER 9, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SUZANNE LINT, EXECUTIVE DIRECTOR OF THE ALLIED ARTS COUNCIL, ABOUT THE OPENING OF CASA AND THE FACILITY’S IMPACT ON THE COMMUNITY. LINT SAID: “IT WAS A PRETTY SIGNIFICANT DAY… YOU OPEN YOUR DOORS AND YOU EXPECTED TO HAVE PEOPLE BUT WE HAD THOUSANDS OF PEOPLE. THERE WERE ABOUT 3000 PEOPLE AND AS THAT RIBBON WAS CUT, THERE WERE PEOPLE ON THE STAIRWELLS AND PACKED IN EVERY HALLWAY AND HANGING OVER THE BALCONY LOOKING DOWN INTO THE FOYER WHERE THE ACTUAL RIBBON CUTTING OCCURRED. IT WAS PRETTY AWESOME, A PRETTY EXCITING DAY… IT’S THE FULL BREADTH OF THE ARTS ARE IN THAT BUILDING, AND THAT PRESENCE IS FABULOUS TO HAVE ALL OF THE DISCIPLINES INTERMIXING TOGETHER FOR THE COMMUNITY. IT’S HUGE. SO THAT RATHER INNOCUOUS PIECE OF RED SATIN RIBBON AND A PAIR OF RECEPTIONIST’S SCISSORS DON’T LOOK LIKE MUCH BUT THEY ARE PART OF THE OPENING OF SOMETHING THAT IS PRETTY SIGNIFICANT.” LINT CONTINUED: “WE WAITED A LONG TIME FOR A BUILDING LIKE THAT… A PURPOSE-BUILT CIVIC ARTS CENTRE FOR CREATING ARTWORK IN MANY DISCIPLINES, WHICH IS ALMOST NOT HEARD OF. I DON’T THINK ANYTHING LIKE IT EXISTS OFF A UNIVERSITY OR COLLEGE CAMPUS… IT IS A PROJECT THAT THE ARTS COMMUNITY [IN LETHBRIDGE] HAS WORKED ON FOR 20 – 30 YEARS… WE HAVE ENGAGED A WHOLE NEW COMMUNITY THAT WASN’T REALLY ACTIVE OR PARTICIPATING AT THE BOWMAN ARTS CENTRE… THE BOWMAN, WHICH SERVED THE COMMUNITY AMAZINGLY WELL, [WAS] REALLY BUILT ON A MODEL OF ORGANIZATIONAL PRIORITIES AND SPACES, [WHEREAS CASA] WAS DESIGNED TO BE AN OPEN CONCEPT AND REALLY INCLUSIVE SO THAT INDIVIDUAL ARTISTS AND OTHER DISCIPLINES WOULD HAVE AN OPPORTUNITY TO PARTICIPATE IN THE BUILDING… ANYBODY CAN COME… YOU TAKE YOUR MEMBERSHIP AND YOU CAN COME IN AND WORK… THIS BUILDING IS BUSY, WITH NEW GROUPS AND INDIVIDUAL ARTIST AND IT’S ALSO ATTRACTING PEOPLE FROM AWAY… WE’RE SEEING A DIVERSITY OF PROGRAMMING THAT WE DIDN’T HAVE BEFORE; THE VERY NATURE OF THE BUILDING WE HAVE THE COMMUNITY ROOM WHICH ALLOWS FOR CERTAIN THINGS TO HAPPEN, THERE’S THE DANCE STUDIO, VISUAL ARTS STUDIOS AND ALL THE SPACES FOR MUSIC… WE’RE SEEING PEOPLE WHO WEREN’T ENGAGED IN THE GENERAL COMMUNITY BECOMING ENGAGED. WE’VE GOT A WHOLE BRAND NEW GROUP OF ARTISTS AND MUCH BROADER DEMOGRAPHIC GROUP OF ARTISTS FROM ALL AGES COMING IN… WE’RE OFFERING MORE COMMUNITY DEVELOPMENT OPPORTUNITIES. THE BOWMAN HAD THE CLASSES FOR ADULTS WITH SPECIAL NEEDS BUT WE ARE NOW DOING SOME WORK WITH HOUSING FIRST CLIENTS WHO ARE TRANSITIONING. WE’VE GOT A RELATIONSHIP AND SOME FUNDING FROM ATB THAT IS ALLOWING US TO TRY AND BUILD SOME FIRST NATIONS PROGRAMING… ARTISTS ARE DEVELOPING PROGRAMS AND WE ARE FACILITATING THEM AND DELIVERING THEM. SO IT’S REALLY GRASSROOTS… IT’S A MUCH BIGGER COMMUNITY. NOT JUST THE SIXTY PEOPLE THAT USED TO BE BOWMAN ATTENDERS. [NOW] THERE’S 100,000 PEOPLE [WHO] VISITED THE BUILDING IN ITS FIRST YEAR OF OPERATION.” LINT CONCLUDED: “THAT BUILDING, SEEING IT RISE AND THE NATURE OF WHAT IT IS, IS PROBABLY ONE OF THE MOST IMPORTANT PIECES OF WORK THAT I’VE WORKED ON, BUT IT ALSO REPRESENTS A TIME IN HISTORY WHERE THERE WAS THIS SERENDIPITOUS GROUP OF PEOPLE WHO WORKED TOGETHER AROUND AN IDEA. SO THE COUNCIL WAS RIPE, THE CITY ADMINISTRATION WAS RIPE. WE HAD A FABULOUS BOARD THAT REALLY WENT TO THE WALL AROUND ARTS IN THIS COMMUNITY ENSURING THAT THEY SURVIVED… I THINK THAT’S THE KIND OF COMMUNITY IT IS. I THINK WE’RE ISOLATED ENOUGH THAT WE DO SOME FAIRLY CRAZY AND WILD THINGS. WE CAN BE PRETTY INVENTIVE AND PROGRESSIVE. THERE’S A REAL COMPONENT OF THAT AND A CREATIVE KIND OF COMMUNITY WHICH WE ARE VERY FORTUNATE TO LIVE IN. THE INTERESTING THING IS THAT IT IS SURROUNDED BY THE MOST SOCIALLY CONSERVATIVE PEOPLE. SO IT SOMETIMES FEELS TO ME LIKE A SPLIT COMMUNITY, [BUT] THERE IS THIS REALLY STRONG PROGRESSIVE, CREATIVE, INTUITIVE GROUP OF PEOPLE THAT ARE HERE, LOVE IT, AND CONTINUE TO BE HERE.” ON OCTOBER 8, 2015 MACLEAN INTERVIEWED CAROL THIBERT, FORMER CITY OF LETHBRIDGE COMMUNITY SERVICES PROGRAM CO-ORDINATOR. THIBERT WAS THE CITY LIAISON TO THE ALLIED ARTS COUNCIL DURING THE PLANNING, CONSTRUCTION, AND OPENING OF CASA. THIBERT SAID: “PART OF MY JOB WAS ORGANIZING THE OPENING CEREMONIES… [THE RIBBON CUTTING] WAS EXTREMELY WELL RECEIVED. THE COMMUNITY WAS VERY, VERY EXCITED. IT WAS FULL – THE MEZZANINE, THE MAIN AREA, AND PEOPLE LOOKING DOWN… THE DIFFERENT LEVELS OF GOVERNMENT WERE THERE TO SPEAK, SO IT WAS A GALA AFFAIR… IT WAS A LONG TIME COMING. I WAS ON THE COMMITTEE THAT STARTED LOOKING INTO WHAT A COMMUNITY ARTS CENTRE WOULD LOOK [LIKE]. WE WENT TO CALGARY AND EDMONTON AND DID TOURS OF [THEIR] FACILITIES, AND [CASA] IS ONE OF THE MOST BEAUTIFUL, AMAZING, FORWARD-THINKING COMMUNITY ART CENTRES IN OUR PROVINCE, MAYBE EVEN IN CANADA. SO IT’S SOMETHING TO BE VERY PROUD OF.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND HARDCOPIES OF NEWSPAPER ARTICLES AND PRESS RELEASES ABOUT CASA.
Catalogue Number
P20130030002
Acquisition Date
2013-07
Collection
Museum
Images
Less detail
Other Name
“CRAFT SMART”
Date Range From
2012
Date Range To
2013
Material Type
Artifact
Materials
STEEL, PLASTIC
Catalogue Number
P20130030001
  1 image  
Material Type
Artifact
Other Name
“CRAFT SMART”
Date Range From
2012
Date Range To
2013
Materials
STEEL, PLASTIC
No. Pieces
1
Height
1
Length
21
Width
7.25
Description
STAINLESS STEEL SCISSORS WITH BLUE PLASTIC HANDLES. ONE BLADE IS STAMPED WITH TEXT READING “STAINLESS STEEL”; THE OTHER WITH TEXT READING “CRAFTSMART”. MINOR SPOTS OF DISCOLOURATION ON BLADES. OVERALL VERY GOOD CONDITION.
Subjects
TEXTILEWORKING T&E
CEREMONIAL ARTIFACT
Historical Association
LEISURE
COMMEMORATIVE
History
THESE SCISSORS WERE USED DURING THE RIBBON CUTTING CEREMONY CELEBRATING THE OPENING OF CASA, LETHBRIDGE’S COMMUNITY ARTS CENTRE, ON MAY 14, 2013, AT 230 8 ST SOUTH. ACCORDING TO CITY OF LETHBRIDGE RECREATION AND CULTURE DEVELOPMENT MANAGER LORI HARASEM, SEVEN REPRESENTATIVES HELPED CUT THE RIBBON: STEPHEN GRAHAM (ROTARY CLUBS OF LETHBRIDGE), KRIS HODGSON (PRESIDENT, ALLIED ARTS COUNCIL), GLENN MILLER (ASSISTANT TO LETHBRIDGE EAST MLA BRIDGET PASTOOR), DR. MIKE MAHON (PRESIDENT, UNIVERSITY OF LETHBRIDGE), MAYOR RAJKO DODIC, GREG WEADICK (LETHBRIDGE WEST MLA), AND JIM HILLYER (LETHBRIDGE MP). IN AN EMAIL TO COLLECTIONS TECHNICIAN KEVIN MACLEAN, HARASEM DESCRIBED THE DAY’S EVENTS, WRITING: “[THE CEREMONY], ORIGINALLY SCHEDULED TO TAKE PLACE ON THE ROTARY PLAZA ON THE EAST SIDE OF THE BUILDING, WAS MOVED INDOORS DUE TO THE STRONG WINDS THAT DAY. ONCE THE SPEECHES WERE DONE, AND THE RIBBON WAS CUT, THE BUILDING WAS OPEN FOR TOURS WITH ALL SPACES BEING UTILIZED BY ARTISANS TO DEMONSTRATE TO THE PUBLIC THE VARIETY OF ACTIVITIES THAT WILL TAKE PLACE IN THE FACILITY… THE RIBBON WAS IN MY POSSESSION AS I WAS PART OF THE PLANNING COMMITTEE [FOR THE OPENING CEREMONY]… ONCE THE RIBBON CUTTING WAS OVER, I ASSISTED WITH MOVING THE STANCHIONS AND RIBBONS OUT OF THE WALKWAY, AND REALIZED THE SIGNIFICANCE OF THE RIBBON… [I] SUGGESTED WE PROVIDE IT TO THE GALT MUSEUM.” THE FOLLOWING INFORMATION ABOUT CASA WAS EXCERPTED FROM THE ALLIED ARTS COUNCIL WEBSITE. CASA IS A COLLABORATIVE INITIATIVE OF THE ALLIED ARTS COUNCIL AND THE CITY OF LETHBRIDGE. THIS UNIQUE FACILITY SETS A NEW STANDARD FOR INTERDISCIPLINARY ARTS CENTRES, AND PROMOTES EXPERIMENTATION, INCUBATION, AND LEARNING. CASA WAS BUILT TO SERVE A MULTI-GENERATIONAL COMMUNITY, WITH VARYING ART SKILL SETS AND INTERESTS IN A VARIETY OF DISCIPLINES. FUNDING FOR THE 42,000 SQUARE FOOT CENTRE WAS PROVIDED BY THE FEDERAL BUILD CANADA FUND, THE ALBERTA MUNICIPAL SUSTAINABILITY INITIATIVE FUND, AND THE CITY OF LETHBRIDGE. IN ADDITION TO PROVIDING EDUCATIONAL ARTS PROGRAMMING, VISUAL ARTS STUDIOS AND TECHNICAL WORKSHOPS, PERFORMING ARTS SPACES, AND AN EXHIBITION GALLERY, CASA ALSO HOUSES THE UNIVERSITY OF LETHBRIDGE’S CONSERVATORY OF MUSIC. ON SEPTEMBER 9, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SUZANNE LINT, EXECUTIVE DIRECTOR OF THE ALLIED ARTS COUNCIL, ABOUT THE OPENING OF CASA AND THE FACILITY’S IMPACT ON THE COMMUNITY. LINT SAID: “IT WAS A PRETTY SIGNIFICANT DAY… YOU OPEN YOUR DOORS AND YOU EXPECTED TO HAVE PEOPLE BUT WE HAD THOUSANDS OF PEOPLE. THERE WERE ABOUT 3000 PEOPLE AND AS THAT RIBBON WAS CUT, THERE WERE PEOPLE ON THE STAIRWELLS AND PACKED IN EVERY HALLWAY AND HANGING OVER THE BALCONY LOOKING DOWN INTO THE FOYER WHERE THE ACTUAL RIBBON CUTTING OCCURRED. IT WAS PRETTY AWESOME, A PRETTY EXCITING DAY… IT’S THE FULL BREADTH OF THE ARTS ARE IN THAT BUILDING, AND THAT PRESENCE IS FABULOUS TO HAVE ALL OF THE DISCIPLINES INTERMIXING TOGETHER FOR THE COMMUNITY. IT’S HUGE. SO THAT RATHER INNOCUOUS PIECE OF RED SATIN RIBBON AND A PAIR OF RECEPTIONIST’S SCISSORS DON’T LOOK LIKE MUCH BUT THEY ARE PART OF THE OPENING OF SOMETHING THAT IS PRETTY SIGNIFICANT.” LINT CONTINUED: “WE WAITED A LONG TIME FOR A BUILDING LIKE THAT… A PURPOSE-BUILT CIVIC ARTS CENTRE FOR CREATING ARTWORK IN MANY DISCIPLINES, WHICH IS ALMOST NOT HEARD OF. I DON’T THINK ANYTHING LIKE IT EXISTS OFF A UNIVERSITY OR COLLEGE CAMPUS… IT IS A PROJECT THAT THE ARTS COMMUNITY [IN LETHBRIDGE] HAS WORKED ON FOR 20 – 30 YEARS… WE HAVE ENGAGED A WHOLE NEW COMMUNITY THAT WASN’T REALLY ACTIVE OR PARTICIPATING AT THE BOWMAN ARTS CENTRE… THE BOWMAN, WHICH SERVED THE COMMUNITY AMAZINGLY WELL, [WAS] REALLY BUILT ON A MODEL OF ORGANIZATIONAL PRIORITIES AND SPACES, [WHEREAS CASA] WAS DESIGNED TO BE AN OPEN CONCEPT AND REALLY INCLUSIVE SO THAT INDIVIDUAL ARTISTS AND OTHER DISCIPLINES WOULD HAVE AN OPPORTUNITY TO PARTICIPATE IN THE BUILDING… ANYBODY CAN COME… YOU TAKE YOUR MEMBERSHIP AND YOU CAN COME IN AND WORK… THIS BUILDING IS BUSY, WITH NEW GROUPS AND INDIVIDUAL ARTIST AND IT’S ALSO ATTRACTING PEOPLE FROM AWAY… WE’RE SEEING A DIVERSITY OF PROGRAMMING THAT WE DIDN’T HAVE BEFORE; THE VERY NATURE OF THE BUILDING WE HAVE THE COMMUNITY ROOM WHICH ALLOWS FOR CERTAIN THINGS TO HAPPEN, THERE’S THE DANCE STUDIO, VISUAL ARTS STUDIOS AND ALL THE SPACES FOR MUSIC… WE’RE SEEING PEOPLE WHO WEREN’T ENGAGED IN THE GENERAL COMMUNITY BECOMING ENGAGED. WE’VE GOT A WHOLE BRAND NEW GROUP OF ARTISTS AND MUCH BROADER DEMOGRAPHIC GROUP OF ARTISTS FROM ALL AGES COMING IN… WE’RE OFFERING MORE COMMUNITY DEVELOPMENT OPPORTUNITIES. THE BOWMAN HAD THE CLASSES FOR ADULTS WITH SPECIAL NEEDS BUT WE ARE NOW DOING SOME WORK WITH HOUSING FIRST CLIENTS WHO ARE TRANSITIONING. WE’VE GOT A RELATIONSHIP AND SOME FUNDING FROM ATB THAT IS ALLOWING US TO TRY AND BUILD SOME FIRST NATIONS PROGRAMING… ARTISTS ARE DEVELOPING PROGRAMS AND WE ARE FACILITATING THEM AND DELIVERING THEM. SO IT’S REALLY GRASSROOTS… IT’S A MUCH BIGGER COMMUNITY. NOT JUST THE SIXTY PEOPLE THAT USED TO BE BOWMAN ATTENDERS. [NOW] THERE’S 100,000 PEOPLE [WHO] VISITED THE BUILDING IN ITS FIRST YEAR OF OPERATION.” LINT CONCLUDED: “THAT BUILDING, SEEING IT RISE AND THE NATURE OF WHAT IT IS, IS PROBABLY ONE OF THE MOST IMPORTANT PIECES OF WORK THAT I’VE WORKED ON, BUT IT ALSO REPRESENTS A TIME IN HISTORY WHERE THERE WAS THIS SERENDIPITOUS GROUP OF PEOPLE WHO WORKED TOGETHER AROUND AN IDEA. SO THE COUNCIL WAS RIPE, THE CITY ADMINISTRATION WAS RIPE. WE HAD A FABULOUS BOARD THAT REALLY WENT TO THE WALL AROUND ARTS IN THIS COMMUNITY ENSURING THAT THEY SURVIVED… I THINK THAT’S THE KIND OF COMMUNITY IT IS. I THINK WE’RE ISOLATED ENOUGH THAT WE DO SOME FAIRLY CRAZY AND WILD THINGS. WE CAN BE PRETTY INVENTIVE AND PROGRESSIVE. THERE’S A REAL COMPONENT OF THAT AND A CREATIVE KIND OF COMMUNITY WHICH WE ARE VERY FORTUNATE TO LIVE IN. THE INTERESTING THING IS THAT IT IS SURROUNDED BY THE MOST SOCIALLY CONSERVATIVE PEOPLE. SO IT SOMETIMES FEELS TO ME LIKE A SPLIT COMMUNITY, [BUT] THERE IS THIS REALLY STRONG PROGRESSIVE, CREATIVE, INTUITIVE GROUP OF PEOPLE THAT ARE HERE, LOVE IT, AND CONTINUE TO BE HERE.” ON OCTOBER 8, 2015 MACLEAN INTERVIEWED CAROL THIBERT, FORMER CITY OF LETHBRIDGE COMMUNITY SERVICES PROGRAM CO-ORDINATOR. THIBERT WAS THE CITY LIAISON TO THE ALLIED ARTS COUNCIL DURING THE PLANNING, CONSTRUCTION, AND OPENING OF CASA. THIBERT SAID: “PART OF MY JOB WAS ORGANIZING THE OPENING CEREMONIES… [THE RIBBON CUTTING] WAS EXTREMELY WELL RECEIVED. THE COMMUNITY WAS VERY, VERY EXCITED. IT WAS FULL – THE MEZZANINE, THE MAIN AREA, AND PEOPLE LOOKING DOWN… THE DIFFERENT LEVELS OF GOVERNMENT WERE THERE TO SPEAK, SO IT WAS A GALA AFFAIR… IT WAS A LONG TIME COMING. I WAS ON THE COMMITTEE THAT STARTED LOOKING INTO WHAT A COMMUNITY ARTS CENTRE WOULD LOOK [LIKE]. WE WENT TO CALGARY AND EDMONTON AND DID TOURS OF [THEIR] FACILITIES, AND [CASA] IS ONE OF THE MOST BEAUTIFUL, AMAZING, FORWARD-THINKING COMMUNITY ART CENTRES IN OUR PROVINCE, MAYBE EVEN IN CANADA. SO IT’S SOMETHING TO BE VERY PROUD OF.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND HARDCOPIES OF NEWSPAPER ARTICLES AND PRESS RELEASES ABOUT CASA.
Catalogue Number
P20130030001
Acquisition Date
2013-07
Collection
Museum
Images
Less detail
Other Name
W/ PETTICOAT
Date Range From
1897
Date Range To
1902
Material Type
Artifact
Materials
COTTON, PLASTIC
Catalogue Number
P20090017000
  2 images  
Material Type
Artifact
Other Name
W/ PETTICOAT
Date Range From
1897
Date Range To
1902
Materials
COTTON, PLASTIC
No. Pieces
2
Length
95.0
Width
86.2
Description
WHITE COTTON AND LACE BAPTISMAL GOWN WITH PUFFED SLEEVES AND WHITE COTTON SLEEVELESS PETTICOAT WITH EYELET DETAIL - 2 PIECES. 1. CHRISTENING GOWN, WHITE COTTON, CUTWORK LACE AT CHEST AND ON BOTTOM HALF OF SKIRT, PUFFED SHORT SLEEVES, LONG SKIRT, FABRIC GATHERED BELOW CHEST, LACE DETAILS AT SLEEVES AND COLLAR. 95.0 CM LONG BY 86.2 CM WIDE. 2. PETTICOAT, WHITE COTTON, SLEEVELESS, HORIZONTAL BAND JUST BELOW CHEST, FABRIC GATHERED AT BOTTOM OF BAND, LONG SKIRT, FLOWER AND VINE PATTERNED CUTWORK ON BOTTOM PORTION AND FRILL OF SKIRT. 82.5 CM LONG BY 58.0 CM WIDE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
ACCORDING TO DONOR ELEANOR STANTON (NEE WATSON) AT TIME OF DONATION, SHE ACQUIRED THE GOWN IN JUNE 1996 IN KELOWNA, BC WHEN SHE WAS ATTENDING HER FATHER'S (FRANCIS "FRANK" HERBERT WATSON) FUNERAL. HER MOTHER THOUGHT SHE MIGHT APPRECIATE IT. THE DONOR'S MOTHER HAD PREVIOUSLY ACQUIRED IT FROM HER MOTHER (MARY ELIZABETH REED) IN 1935. STANTON'S MOTHER DID NOT USE THE GOWN AS HER CHILDREN WERE BAPTIZED LATER ON IN LIFE. AT THE TIME IT WAS STORED IN STAVE FALLS, B.C. (WHERE THE DONOR'S PARENTS LIVED). IT WAS STORED IN KELOWNA B.C. AFTER THE FAMILY MOVED THERE IN 1944. THE GOWN WAS PROCURED SOMETIME BETWEEN 1897 AND 1902. IT WOULD HAVE ORIGINALLY BEEN USED FOR STANTON'S FATHER (FRANK WATSON). WATSON WAS BORN NOVEMBER 12, 1900 IN LETHBRIDGE. THE WATSON FAMILY (GEORGE HERBERT WATSON AND MARY ELIZABETH WATSON [NEE REED]) ALSO HAD TWINS IN 1902, THEY DIED THE SAME YEAR (NAMED LIBBY MARIA AND AN UNNAMED BOY). THE WATSON FAMILY LEFT LETHBRIDGE IN 1917. THE DONOR DOES NOT BELIEVE THE GOWN WAS EVER USED BY ANYONE OTHER THAN FRANK WATSON. SEE PERMANENT FILE FOR MORE INFORMATION. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE ASSOCIATED WITH THE REED FAMILY. THE FOLLOWING BIOGRAPHY OF JOB REED WAS DEVELOPED WITH INFORMATION FROM AN ARTICLE ON THE REED FAMILY AND FARM FROM THE DECEMBER 30, 1985 ISSUE OF THE LETHBRIDGE HERALD, REED'S DEATH ANNOUNCEMENT FROM 1906, AND THE GALT ARCHIVES. JOB REED WAS BORN IN SOMERSETSHIRE, ENGLAND ON NOVEMBER 12, 1841. WHEN HE WAS 14, HIS FATHER DIED, LEAVING JOB THE RESPONSIBILITY OF PROVIDING FOR HIMSELF AND HIS WIDOWED MOTHER. HE WORKED FOR THE BRITISH POSTAL SERVICE AND COMPLETED HIS TEACHING CERTIFICATION. HE MARRIED MARY ELIZABETH HOBBS IN 1869, AND IMMIGRATED TO THE UNITED STATES IN 1873, MOVING FROM NEW ORLEANS TO TEXAS AND THEN PENNSYLVANIA, WHERE REED OBTAINED A DEGREE IN MEDICINE. THE COUPLE RETURNED TO ENGLAND, BUT REED'S MEDICAL TRAINING WAS NOT RECOGNIZED THERE, AND IN 1882 THEY CROSSED THE ATLANTIC AGAIN, MOVING WEST ACROSS CANADA IN STAGES, FINALLY ARRIVING IN LETHBRIDGE IN 1886. THE FAMILY HAD SEVEN CHILDREN: RICHARD, HENRY, ELIZABETH (WHO MARRIED GEORGE HERBERT WATSON), JOB JUNIOR (KNOWN AS BUDD), GEORGE, ANNIE, AND ELLA. REED PURCHASED TWO LOTS ON WHAT IS NOW 6TH AVENUE SOUTH. THE FAMILY OWNED AND OPERATED A MARKET GARDEN ON THE PROPERY, AND BUILT A STONE DUPLEX THAT STILL STANDS ON THE 1200 BLOCK OF 6TH AVENUE. REED WORKED AS A COAL MINER TO EARN MORE MONEY TOWARDS INVESTING IN FURTHER LAND, AND RAISED PIGS WITH SCRAP FOOD FROM THE NEARBY RCMP BARRACKS. IN 1901, REED PURCHASED 2.5 SECTIONS OF LAND NEAR PRESENT-DAY GRANUM WITH HIS FOUR SONS AND ONE SON-IN-LAW; HIS SON BILLY LATER TOOK OVER THIS RANCH. REED WAS A JUSTICE OF THE PEACE IN LETHBRIDGE AND A MEMBER OF THE SCHOOL BOARD. IN EARLY 1906, HE PURCHASED EDGEHILL FARM, NEAR SIX MILE COULEE, BUT HE DIED LATER THAT YEAR ON APRIL 25. MARY REED LIVED AT THE FARM FOR YEARS AFTERWARD, AND DIED IN KELOWNA, B.C. IN 1932 AT HOME OF ONE OF HER SONS. BOTH JOB AND MARY REED ARE BURIED IN MOUNTAIN VIEW CEMETERY IN LETHBRIDGE. SEE PERMANENT FILE P19980031006 FOR HARDCOPIES OF NEWSPAPER ARTICLES, AND PERMANENT FILE P19920001001 FOR RESEARCH CONDUCTED BY AIMEE VIEL FOR A GALT MUSUEM EXHIBIT ON THE REED FAMILY..
Catalogue Number
P20090017000
Acquisition Date
2009-06
Collection
Museum
Images
Less detail

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