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Other Name
CIGARETTE SILKS
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
LINEN, SILK
Catalogue Number
P19739445000
  1 image  
Material Type
Artifact
Other Name
CIGARETTE SILKS
Date Range From
1920
Date Range To
1930
Materials
LINEN, SILK
No. Pieces
1
Length
210.8
Width
173.3
Description
FLOWERS AND ENSIGNS IN RED, BLUE, PURPLE, YELLOW, BROWN, GREEN, BLACK. HAND MONOGRAMMED. WHITE LINEN BACKGROUND. SEVERAL BROWN STAINS ON RIGHT, MIDDLE, AND BOTTOM LEFT. GENERAL YELLOWING HAS BEGUN SLIGHTLY.
Subjects
BEDDING
ART
Historical Association
DECORATIVE ARTS
History
PRIOR TO 1925, TOBACCO COMPANYS PLACED SILK & SATIN INSERTS IN CIGAR, CIGARETTE & TOBACCO PACKAGES AS BONUSES. THE SILK DECALS USED IN THIS QUILT ARE EXAMPLES. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0270” BY THE ALBERTA QUILT PROJECT.
Catalogue Number
P19739445000
Acquisition Date
1973-05
Collection
Museum
Images
Less detail
Other Name
EASTER EGG
Material Type
Artifact
Materials
PLASTIC, ORGANIC MATERIAL
Catalogue Number
P19970041099
Material Type
Artifact
Other Name
EASTER EGG
Date
1983
Materials
PLASTIC, ORGANIC MATERIAL
No. Pieces
1
Height
5.5
Diameter
4.4
Description
HOLLOW EGG HAS PLASTIC SLEEVE WITH COLORFUL SCENE OF BLUE BIRDS, NATURE AND EGGS. AT TOP OF EGG WHERE SLEEVE ENDS IS HAND DRAWN IMAGES (POSSIBLY BIRDS) IN BLUE INK. BOTTOM HAS SQUARE PIECES OF PAPER TAPED TO IT FOR STABILITY.
Subjects
ART
CEREMONIAL ARTIFACT
Historical Association
DECORATIVE ARTS
History
EASTER EGG WAS LIKELY GIVEN TO REV. NAKAYAMA BY A PUPIL OR CHILD WHO HE KNEW IN VANCOUVER AFTER MOVING THERE IN 1980. THE NAKAYAMA FAMILY WAS ORIGINALLY FROM VANCOUVER AND WERE INTERNED IN SLOCAN CITY DURING THE SECOND WORLD WAR. FOLLOWING THE WAR THE NAKAYAMA FAMILY MOVED TO COALDALE, ALBERTA. AT COALDALE REV NAKAYAMA FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION WHERE HE WAS RECTOR FROM 1945 TO 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041099
Acquisition Date
1997-01
Collection
Museum
Less detail

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
LETHBRIDGE CENTENNIAL
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19860002000
Material Type
Artifact
Other Name
LETHBRIDGE CENTENNIAL
Date
1985
Materials
COTTON
No. Pieces
1
Length
257
Width
280
Description
IVORY, PINK, ROSE, GREEN, BLUE. ROSE GLADIOLA GREEN STEM, HANDPAINTED IN LEFT CORNER, WRITTEN IN BLUE/GREY "LETHBRIDGE CENTENNIAL 1885 1985", ROSE STITCHED SUN-RAY EFFECT RADIATING UPWARD TOWARDS UPPER RIGHT HAND CORNER. 4 ROWS OF ROSE STITCHING AROUND PERIMETER OF QUILT. LABEL SEWN ON BACK CORNER READS "HAND MADE BY LETHBRIDGE SENIOR CITIZEN'S ORGANIZATION". ALSO ON BACK TOP IS BASTING WHICH HAS NOT BEEN REMOVED, POSSIBLY USED TO HANG QUILT WITH. UPPER RIGHT HAND CORNER HAS STITCHED AND HAND PAINTED IN BLUE-GREY COLOR, IN WRITING, "L.S.C.O.". BOTTOM LEFT HAND CORNER HAS SEVERAL RED SPLATTERS OF PAINT AND A COUPLE OF BLUE.
Subjects
ART
BEDDING
Historical Association
COMMEMORATIVE
History
DONATED BY LETHBRIDGE SENIOR CITIZENS AS A CENTENNIAL PROJECT.
Catalogue Number
P19860002000
Acquisition Date
1985-09
Collection
Museum
Less detail
Other Name
CENTENNIAL QUILT
Material Type
Artifact
Materials
COTTON, POLYESTER, CORDUROY, SATIN
Catalogue Number
P19860001000
  1 image  
Material Type
Artifact
Other Name
CENTENNIAL QUILT
Date
1985
Materials
COTTON, POLYESTER, CORDUROY, SATIN
No. Pieces
2
Length
210
Width
289
Description
.1 QUILT. COTTON, POLYESTER, CORDUROY, SATIN, EMBROIDERY FLOSS. NAVY BLUE, WHITE BACKGROUND, VARIOUS COLORS IN INDIVIDUAL SQUARES. FRONT - NAVY BLUE/WHITE SWISS DOT, STALKS OF WHEAT QUILTED ON BOTTOM LEFT AND RIGHT CORNERS. BACK - NAVY BLUE, TAN, WHITE, PINK SMALL FLORAL DESIGN.BACK OF BOTTOM LEFT CORNER IS COTTON TAG SEWN ON. READS "REGISTRATION NUMBER: 3-0442 ALBERTA HERITAGE QUILT PROJECT". TOP ROW, LEFT TO RIGHT 1. THE LOOKOUT FOR THE ORIGINAL SITE OF FORT WHOOP-UP BY JANET ALEXANDER. 2. THE CPR RAILWAY BRIDGE BY MAUREEN HEPHER. 3. THE LETHBRIDGE BREWERY BY DALE BLAIR. 4. THE HALE HOME BY CHRIS HALE. 5. CPR RAILWAY STATION BY SHIRLEY SCOTNEY. 6. INDIAN BATTLE PARK BY AGNES FINNELL. 7. THE UNIVERSITY OF LETHBRIDGE BY BARBARA DAWSON. SECOND ROW, LEFT TO RIGHT. 1. Y.W.C.A. ORIGINAL BUILDING BY BARBARA DAY. 2. ST. AUGUSTINE'S CHURCH BY PHYLLIS CAMERON. 3. GENEVIEVE E. YATES MEMORIAL CENTRE BY ANGIE RICE. 4. THE BOWMAN ARTS CENTRE BY WALLIS ALLEN. 5. THE POST OFFICE BY MARTHA DRAFFIN. 6. LETHBRIDGE EXHIBITION & RACE TRACK BY L. RUSSELL. THIRD ROW, LEFT TO RIGHT. 1. BLOWING WHEAT BY SUE CHRISTIE. 2. LITTLE HOUSE ON THE PRAIRIE BY ADELE DOWNS. 3. COURT HOUSE BY ESTELLE WARNICA. 4. JAPANESE GARDENS BY SANDRA HAHN. 5. CACTUS FLOWER BY BETTY AFAGANIS. FOURTH ROW, LEFT TO RIGHT. 1. HARVESTING TIME BY CAROLYN JEFFERSON. 2. LETHBRIDGE CENTENNIAL QUILT BLOCK BY FRANCES SCHULTZ. 3. A LETHBRIDGE SCENE: THE CHINOOK WIND, THE GOPHER AND THE TUMBLEWEED BY HELEN BAKER. 4. THE TEEPEE BY JOYCE SARSFIELD. FIFTH ROW, LEFT TO RIGHT. 1. COULEE FLOWERS BY DOREEN ROSS. 2. THE LETHBRIDGE LOGO BY CATHIE THRALL. 3. THE ALBERTA ROSE BY KERRY MORRISON. .2 SAMPLER. 22 CM WDTH. X 22 CM LGTH. COTTON, LACE. NAVY BLUE/WHITE. NAVY BLUE/WHITE SWISS DOT 18 CM SQUARE, ENCIRCLED WITH WHITE COTTON LACE, "THIS HEIRLOOM QUILT WAS CREATED BY THE LETHBRIDGE CENTENNIAL QUILTERS 1985" NEEDLEPOINTED IN A CIRCLE CUT OUT OF THE SQUARE. SEE CONSERVATION REPORT. FADED SLIGHTLY.
Subjects
BEDDING
ART
Historical Association
COMMEMORATIVE
History
QUILT MADE BY THE CENTENNIAL QUILTERS IN HONOR OF LETHBRIDGE'S 100TH BIRTHDAY, DONATED TO THE GALT MUSEUM.
Catalogue Number
P19860001000
Acquisition Date
1985-09
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
TENGU NO MEN
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19790246000
Material Type
Artifact
Other Name
TENGU NO MEN
Date
1934
Materials
WOOD
No. Pieces
1
Height
24.1
Length
28.6
Width
20.3
Description
PINE. MASK IS OCHRE RED IN COLOR. LACQUERWARE. BLACK EYEBROWS AND EYES. GOLD EYE AREA AND TEETH. NOSE IS CHIPPING BADLY. RIGHT EYEBROW CHIPPED.
Subjects
CEREMONIAL ARTIFACT
ART
Historical Association
BUSINESS
History
"TENGRIE" MEANS LONG NOSED GOBLIN. THIS MASK WAS THE MASCOT OF THE TENGRU NOODLE RESTAURANT IN VANCOUVER SINCE 1934. THE MASK WAS BROUGHT WITH THE DONOR WHEN EVACUATED TO ALBERTA IN 1942 (?). THE PRIDE OF CUISINE WAS SYMBOLIZED BY THE LONG NOSE MASK. IT HUNG ON THE FRONT OF THE RESTAURANT
Catalogue Number
P19790246000
Acquisition Date
1979-02
Collection
Museum
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
Material Type
Artifact
Materials
RIBBON, SILK, NYLON, LINEN
Catalogue Number
P19738519000
Material Type
Artifact
Date
1894
Materials
RIBBON, SILK, NYLON, LINEN
No. Pieces
1
Length
85.1
Width
50.0
Description
CENTRE IS OFF-WHITE SATIN WITH 2 FLOWER BASKETS AT EACH END. FLOWER BASKETS ARE EMBROIDERED. GREEN SILK & WHITE NYLON RUFFLE EDGING. FLOWERS, LEAVES & BOWS ARE EMBROIDERED WITH A RIBBON TECHNIQUE IN PINK, GREEN, BLUE, YELLOW. LINED WITH LINEN. THE COVER HAS SPLIT IN SEVERAL PLACES.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
DOMESTIC
History
GOOD EXAMPLE OF SILK RIBBON EMBROIDERY. REF: MONTGOMERY WARD CATALOGUE 1894.
Catalogue Number
P19738519000
Acquisition Date
1973-02
Collection
Museum
Less detail
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026001
  2 images  
Material Type
Artifact
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Materials
COTTON, WOOL
No. Pieces
1
Length
203
Width
262
Description
FINISHED QUILT WITH BLUE BACKING AND TRIM ALONG EDGES; QUILT TOP HAND-STITCHED, BACKING AND TRIM MACHINE STITCHED. QUILT TOP IS WHITE WITH MULTI-COLOURED FLOWERS ARRANGED IN RINGS; FLOWERS HAVE GREEN LEAVES SURROUNDING PETALS AND LEAVES CONNECT TO FORM THE RINGS. QUILT TOP HAS TWO WHITE FABRICS STITCHED TOGETHER AS BACKGROUND FOR FLOWERS. FRONT HAS MINOR STAINING; BACK HAS SMALL HOLE WITH FRAYED EDGES AND LOSS; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE APPLIQUE QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “THAT BLUE AND WHITE [APPLIQUE] ONE WAS MADE FOR MY [OLDER] SISTER MARY AND SHE WAS AWAY FROM HOME SO IT NEVER GOT HANDED OFF…THE [APPLIQUE] QUILT WAS UP IN THE ATTIC AND THE REST OF THEM, I THINK, WERE JUST IN STORAGE IN THE [ATTIC].” “[MARY] WAS THE SECOND IN LINE…[SHE WAS BORN] IN 1935. I THINK [MY MOM] THOUGHT THAT MARY WAS ONE OF THE ONES THAT WAS OUT OF THE FAMILY. SHE WAS THE BLACK SHEEP, I THINK.” GLORIA BETTS NOTED, “MARY HAD GONE TO THE CONVENT AND THAT’S PROBABLY WHILE SHE WAS GONE WHEN IT WAS MADE.” “[MARY WAS BORN IN] ’35, SO IN ‘55 SHE WOULD HAVE BEEN 20 YEARS OLD AND WOULD HAVE BEEN IN THE CONVENT. [THE QUILT WAS MADE] PROBABLY MID ‘50S.” ED BETTS CONTINUED, “[MARY] WAS AT THE NUNNERY FOR 4-5 YEARS…[THE QUILT WAS NEVER USED] IT WAS UP IN THE ATTIC SINCE IT WAS MADE.” “[MARY] NEVER CAME HOME. SHE WENT NURSING UP IN…WHERE THAT STELMACH CAME FROM [LAMONT, ALBERTA]…SHE LIVED AT THE ALEC [ROYAL ALEXANDRA HOSPITAL, EDMONTON, ALBERTA] FOR 15 YEARS UNTIL THEY KICKED HER OUT OF THERE. SHE WAS A KIND OF RENEGADE.” “IT WAS UP IN THE ATTIC , IT WAS SEWN…HOW THE OLD 100-POUND FLOUR SACKS USED TO COME, WHITE, IT WAS ALL SEWN UP AND HER NAME WAS PUT ON IT IN INDELIBLE PENCIL.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “[SHE MADE QUILTS THAT] WOULD HAVE BEEN CALLED CRAZY [QUILTS] BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’S QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026001
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026002
  2 images  
Material Type
Artifact
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Materials
COTTON, WOOL
No. Pieces
1
Length
202
Width
260
Description
PURPLE QUILT WITH DOUBLE WEDDING RING PATTERN ON FRONT; QUILT HAS MACHINE-STITCHED GRID OF 80 SQUARES. RINGS ARE INTERLOCKED AND MULTI-COLOURED AND MULTI-PATTERNED WITH YELLOW, BLUE, PINK, AND RED PRIMARY COLOURS IN RINGS. QUILT TOP IS HAND-STITCHED AND SEAMS ALONG EDGES ARE MACHINE-STITCHED. BACK OF QUILT HAS LIGHTER PURPLE SECTIONS IN LOWER LEFT CORNER. EDGES ARE FRAYED; LOWER RIGHT CORNER HAS LOOSE STUFFING EXPOSED FROM INSIDE, STUFFING IS WOOL. UPPER RIGHT CORNER HAS INTERIOR FABRIC EXPOSED AND IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE DOUBLE WEDDING RING QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “[MOM] WAS ALWAYS DOING SOMETHING, ’CAUSE SHE COULDN’T SIT DOWN IDLY. SHE HAD TO BE CROCHETING, OR EMBROIDERING OR MAKING QUILTS.” GLORIA BETTS NOTED, “[IT WAS MADE IN THE] ‘60S, MAYBE EVEN THE ‘70S.” “WHEN I FIRST MET [KATHERINE], I CAN REMEMBER COMING INTO THE HOUSE AND SHE WAS SITTING AT THE OLD TREADLE SEWING MACHINE. THAT THING WAS JUST [GOING] AND THAT’S WHAT SHE WAS DOING, WAS JUST PIECING PIECES OF MATERIAL TOGETHER.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’S QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026002
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026003
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
197
Width
154.5
Description
QUILT TOP WITH MULTI-COLOURED AND MULTI-FABRIC CRAZY QUILT DESIGN IN A TWENTY SQUARE GRID; EACH GRID SQUARE HAS AN EIGHT-POINT STAR SEWN TOGETHER WITH MIXED-PATTERNED FABRICS. GRID SQUARES ARE DIVIDED BY EXTRA FABRIC TO FORM BORDERS. QUILT HAS ONE GRID BORDER OF DENIM EXTENDED PAST QUILT EDGE. QUILT IS HANDSTITCHED WITH STITCHES VISIBLE ON BACK; EDGES ARE UNFINISHED AND FRAYING; SMALL, FRAYED TEAR IN MIDDLE OF QUILT; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE CRAZY QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’S QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026003
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026004
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
187.5
Width
147
Description
QUILT TOP WITH GRID OF 20 SQUARES; EACH SQUARE HAS A PATCHWORK FAN BLOCK MADE OF ASSORTED PATTERNED FABRICS. QUILT TOP IS HANDSTICHED WITH UNFINISHED EDGES. QUILT BACKING IS PATCHWORK WITH BLACK AND WHITE SQUARES; BACKING SQUARE IN THE SECOND COLUMN AND THE 12TH SQUARE DOWN HAS BLACK TEXT ON WHITE FABRIC, “CRANE LIMITED; AT POINT OF MAILING; VALVES, FITTINGS, PUMPS, FABRICATED PIPE, HEATING AND PLUMBING MATERIALS”. QUILT HAS MINOR STAINING ON FRONT AND ALONG TOP EGDE; EDGES ARE FRAYING; QUILT HAS RIP BELOW CENTER SQUARE; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE FAN BLOCK QUILT, ED BETTS ELABORATED, “[THE QUILT BACKING IS] FLOUR SACKS…OR SUGAR SACKS, THEY ALL [CAME] IN WHITE SACKS.” GLORIA BETTS ADDED, “[SHE PROBABLY PUT A BACKING ON THIS QUILT TOP] BECAUSE USUALLY, EVEN TODAY IN QUILTING, THE FANS ARE DONE ON A BACKING BECAUSE EVERYTHING ON THE PIECES IS ON A BIAS SO IT STRETCHES. SO IT’S PUT ONTO A BACKING. BUT THE BACKING ON THAT PARTICULAR ONE BEING EITHER THE FLOUR SACKS OR THE SUGAR SACKS, TO ME, MADE IT UNIQUE.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE. [WE CHOSE THE FAN QUILT TOP] PROBABLY BECAUSE OF THE BACKING ON IT. A LOT OF THE TIME, IN THE OLD DAYS, THAT’S WHAT THEY DID, THEY PUT [QUILT TOPS] ON A BACKING.” “ON THE FAN [QUILT], [LUCY WITH THE ROYAL ALBERTA MUSEUM] IDENTIFIED FABRICS THAT WERE BACK TO THE EARLY 1900S. ONE SHE THINKS MIGHT BE BACK INTO THE LATE 1800S WHICH WAS PROBABLY A DRESS THAT [KATHERINE] GOT SOMEWHERE. THE BLUE BACKED ONE, THEY FOUND THERE WERE STILL PINS LEFT INSIDE THE QUILT AND THEY LEFT THEM THERE BECAUSE THEY SAID TO TAKE THEM OUT WOULD DAMAGE THE FABRIC. THEY WERE IMPRESSED WITH THE WORKMANSHIP ON THAT…ESPECIALLY WHEN THEY FOUND OUT THAT IT WAS PUT TOGETHER FROM A DESIGN DRAWN ON NEWSPAPER.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’S QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026004
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026005
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
215.4
Width
165
Description
QUILT TOP WITH EIGHT POINT STAR PATTERN IN 48 SQUARE GRID; QUILT TOP HAS BLUE TRIM ALONG EDGES AND BETWEEN SQUARES; EIGHT POINT STARS FASHIONED FROM MULTICOLOURED AND PATTERNED FABRICS. RIGHT EDGE HAS TWO SQUARES MISSING BLUE TRIM ALONG OUTER EDGE AND ONE SQUARE WITH RIPPED BLUE TRIM ALONG OUTER EDGE; LEFT EDGE HAS SQUARE MISSING BLUE TRIM ALONG OUTER EDGE. UPPER LEFT CORNER HAS THREE SEAMS SEWN IN BLUE TRIM. STARS IN SQUARES HANDSTITCHED; SQUARES ATTACHED WITH MACHINE STITCHED SEAMS; MACHINE STITCHED SEAMS ATTACHING SQUARES TO BLUE TRIM AND EDGES. EDGES ARE FRAYING; QUILT TOP HAS NO BACKING AND THREADS ARE EXPOSED; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE EIGHT-POINT STAR QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’S QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026005
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
PATCHWORK (CRAZY)
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P19900019000
  1 image  
Material Type
Artifact
Other Name
PATCHWORK (CRAZY)
Date
1946
Materials
WOOL, COTTON
No. Pieces
1
Length
177
Width
150
Description
MONOGRAMMED & DATED PATCHWORK OR CRAZY QUILT. PATCHES ON BLUE SINGLE PIECE BACKING & BORDER. "W M S 1946 STICHED ON CORNER BORDER IN RED THREAD. PATCHES IRREGULAR IN SHAPE & SIZE & ARE WOOL & COTTON PIECES. BOLD ZIG-ZAG STITCHES USED. HANDSTITCHED. WORN & FRAYED, SEE CONSERVATION REPORT.
Subjects
BEDDING
Historical Association
DOMESTIC
DECORATIVE ARTS
History
MADE BY ELDA POTTER IN SPRING COULEE. FAMILY ARRIVED THERE IN 1937 OR '38 FROM NORTH DAKOTA, OF NORWEIGEN DESCENT. QUILT PASSED ON TO DONOR WHEN MAKER & HUSBAND DIED. HAS ALWAYS BEEN IN FAMILY. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0279” BY THE ALBERTA QUILT PROJECT.
Catalogue Number
P19900019000
Acquisition Date
1990-01
Collection
Museum
Images
Less detail
Other Name
SQUARES & STARS
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19910041057
  1 image  
Material Type
Artifact
Other Name
SQUARES & STARS
Date
1864
Materials
COTTON
No. Pieces
1
Length
181.5
Width
175.1
Description
RED, WHITE, & BLUE GEOMETRIC DESIGN WITH STARS IN CENTER OF EACH SQUARE PANEL DESIGN. PINK PAISLEY HEM, DESIGN IDENTIFIED AS SQUARES & STARS. SOME WEAR EVIDENT, SMALL STAINS, FRAYING HEM. ON BACK IS HAND-PRINTED INK "MADE BY ELIZABETH EARLY REINHART ABOUT 1984 OR EARLIER" [LIKELY 1884]. PANEL PATTERN IS VARIATION OF "NINE-PATCH" PATTERN. COLORS FADING. SEE CONSERVATION REPORT.
Subjects
BEDDING
Historical Association
DOMESTIC
DECORATIVE ARTS
History
MADE BY GRANDMOTHER ELIZABETH REINHART IN THE UNITED STATES, BROUGHT TO ALBERTA AS SETTLERS' EFFECTS IN MARCH 1909 BY HENRY "DICK" FRANKLIN & MARY BOOSE. GRANDMOTHER WAS A RESIDENT OF LIMA OHIO WHEN QUILT WAS MADE. PASSED ON TO HER GRANDDAUGHTER, EDITH BOOSE OF VULCAN AB. EXCELLENT EXAMPLE OF HAND PIECING & QUILTING, FINE WORKMANSHIP & DESIGN. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0265” BY THE ALBERTA QUILT PROJECT. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING TWO NECKLACES AND A CUSHION COVER DONATED BY MARY EDITH BOOSE IN 1991. INFORMATION ABOUT THE DONOR COMES FROM HER OBITUARY PUBLISHED ON THE VULCAN FUNERAL HOME WEBSITE. IT STATES BOOSE WAS BORN ON 24 JANUARY 1900 IN LIMA, OHIO. SHE “CAME TO NANTON WITH HER SISTER RUTH AND THEIR PARENTS, HENRY "DICK" FRANKLIN AND MARY ESTHER (NEE RINEHART) BOOSE IN THE SPRING OF 1909. THEY SETTLED ON A FARM 27 MILES SOUTHEAST OF NANTON.” AFTER ATTENDING CALGARY NORMAL SCHOOL DURING 1923 – 1924, SHE BECAME A TEACHER. SHE TAUGHT SCHOOL AT EASTWAY. VULCAN, AND TURNER VALLEY. SHE RETIRED IN 1963 AFTER OVER THIRTY-NINE YEARS OF TEACHING. AFTER RETIREMENT, SHE RESIDED IN VULCAN AND PASSED AWAY THERE ON 15 FEBRUARY 1994 AT THE AGE OF 94 YEARS. THE RESEARCH CONDUCTED TO LOCATE THE DONOR’S NEXT-OF-KIN WAS UNSUCCESSFUL. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE FULL OBITUARY.
Catalogue Number
P19910041057
Acquisition Date
1991-06
Collection
Museum
Images
Less detail
Other Name
FLOWER POT
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19910041058
  1 image  
Material Type
Artifact
Other Name
FLOWER POT
Date
1865
Materials
COTTON
No. Pieces
1
Length
196.2
Width
161.0
Description
RED, WHITE, BLUE, & GREEN FLOWER BASKET DESIGN WITH BLUE HEM & WHITE POLKA DOTS. SOME WEAR ALONG HEM & WATER STAIN ALONG BOTTOM EDGE. SEE CONSERVATION REPORT. HAND PIECED, HAND QUILTED. BLUE HEM HAS BEEN ADDED AS REPAIR. ON BACK IN BLUE INK IS PRINTED "MADE BY ELIZABETH LEARLY REINHART LIKELY BEFORE 1865".
Subjects
BEDDING
Historical Association
DOMESTIC
DECORATIVE ARTS
History
MADE BY GRANDMOTHER ELIZABETH REINHART IN THE UNITED STATES, BROUGHT TO ALBERTA AS SETTLERS' EFFECTS IN MARCH 1909 BY HENRY "DICK" FRANKLIN & MARY BOOSE. GRANDMOTHER WAS A RESIDENT OF LIMA OHIO WHEN QUILT WAS MADE. PASSED ON TO HER GRANDDAUGHTER, EDITH BOOSE OF VULCAN AB. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0272” BY THE ALBERTA QUILT PROJECT. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING TWO NECKLACES AND A CUSHION COVER DONATED BY MARY EDITH BOOSE IN 1991. INFORMATION ABOUT THE DONOR COMES FROM HER OBITUARY PUBLISHED ON THE VULCAN FUNERAL HOME WEBSITE. IT STATES BOOSE WAS BORN ON 24 JANUARY 1900 IN LIMA, OHIO. SHE “CAME TO NANTON WITH HER SISTER RUTH AND THEIR PARENTS, HENRY "DICK" FRANKLIN AND MARY ESTHER (NEE RINEHART) BOOSE IN THE SPRING OF 1909. THEY SETTLED ON A FARM 27 MILES SOUTHEAST OF NANTON.” AFTER ATTENDING CALGARY NORMAL SCHOOL DURING 1923 – 1924, SHE BECAME A TEACHER. SHE TAUGHT SCHOOL AT EASTWAY. VULCAN, AND TURNER VALLEY. SHE RETIRED IN 1963 AFTER OVER THIRTY-NINE YEARS OF TEACHING. AFTER RETIREMENT, SHE RESIDED IN VULCAN AND PASSED AWAY THERE ON 15 FEBRUARY 1994 AT THE AGE OF 94 YEARS. THE RESEARCH CONDUCTED TO LOCATE THE DONOR’S NEXT-OF-KIN WAS UNSUCCESSFUL. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE FULL OBITUARY.
Catalogue Number
P19910041058
Acquisition Date
1991-06
Collection
Museum
Images
Less detail
Other Name
BLANKET
Material Type
Artifact
Materials
COTTON, VELVET, WOOL
Catalogue Number
P19960018001
  1 image  
Material Type
Artifact
Other Name
BLANKET
Date
1919
Materials
COTTON, VELVET, WOOL
No. Pieces
1
Length
177
Width
164.5
Description
BACK OF QUILT IS A BURGUNDY COTTON SATEEN. TOP HAS THIS BORDER ALONG 2 SIDES. IS THEN DIVIDED INTO SQUARES THAT HAVE WHITE CRISS-CROSS STITCHES ON OUTSIDE OF EACH SQUARE. SQUARES ARE COTTON (AND WOOL?) AND ARE ALMOST ALL IN DARK TONES OF GREEN, GREY, PURPLE, PINK, BLUE AND BROWN. EACH SQUARE HAS A DIFFERENT DESIGN. ON THE TOP RIGHT IS PINK FLOWER WITH GREEN LEAVES WITH PINK AND YELLOW, AND GREEN AND YELLOW SAME DESIGN DECORATIONS IN THE CORNERS. BOTTOM RIGHT IS SAME COLOUR BROWN BACKGROUND WITH STEM THAT HAS THREE PINK, YELLOW AND WHITE FLOWERS WITH PINK AND WHITE SAME DESIGNS IN CORNERS. TOP LEFT IS SAME BROWN WITH A DIAGONAL LINE OF PINKISH-ORANGE FLOWERS ON A YELLOW VINE WITH THE SAME FLOWERS IN THE OTHER TWO CORNERS. AT BOTTOM IS AQUA VELVET GEOMETRICAL DESIGN PATCH WITH WHITE AND BROWN CANE EMBROIDERED. OTHER PATCHES HAVE NAMES OF WOMEN EMBROIDERED AND FLORAL AND OTHER PATTERNS. IN MIDDLE VERTICAL ROW, THIRD HORIZONTAL ROW THE PATCH IS SALMON AND READS IN BLUE "SIONS LADIES AID". ON REVERSE HAS A FEW LOOSE THREADS AND MINOR HOLES WORN IN FABRIC.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
COMMEMORATIVE
History
EACH SQUARE OF QUILT WAS MADE BY SOMEONE IN THE SION'S LADIES AID IN ENCHANT IN THE SUNDIAL AREA (1919). THIS AID WAS UNDER THE LUTHERAN CHURCH. SOME OF THE PEOPLE ON THE QUILT ARE RELATED TO DONOR. MRS. C.K. ENGEN-GRANDMA, MRS. H.C. DUNN-MOTHER, MERLENE DUNN-TWIN SISTER, WHO IS ONLY ONE STILL ALIVE ON THE QUILT WHEN DONATED IN 1996 BESIDES DONOR. FOR MORE INFORMATION PLEASE REFER TO PERMANENT FILE AND PREVIOUS DONATIONS BY DONOR. PERMANENT FILE INCLUDES COPY OF ARTICLE PUBLISHED IN LETHBRIDGE LIVING MAGAZINE AND RESEARCH SUBMISSION OF BIOGRAPHIES RELATED TO QUILT’S INDIVIDUAL PERSONALITIES, DISPLAYED AS SIGNATURES ON QUILT. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0263” BY THE ALBERTA QUILT PROJECT.
Catalogue Number
P19960018001
Acquisition Date
1996-05
Collection
Museum
Images
Less detail
Other Name
BED HALF SHEET
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19738218000
Material Type
Artifact
Other Name
BED HALF SHEET
Date Range From
1900
Date Range To
1910
Materials
COTTON
No. Pieces
1
Length
165.1
Width
88.9
Description
CROSS STITCH DESIGN, CROCHETED EDGING. COLOURS: GREEN, BLACK, RED, WINE, ORANGE, YELLOW, BLUE, PINK, PURPLE UKRAINIAN FLORAL PATTERN. DECORATED HALF SHEET APPARENTLY FOR DISPLAY PURPOSES.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
DOMESTIC
History
UKRAINIAN. EMBROIDERED IN JUROVA BY MARY VARZARI. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738218000
Acquisition Date
1966-04
Collection
Museum
Less detail
Other Name
POTTERY ART MASK
Date Range From
1990
Date Range To
1999
Material Type
Artifact
Materials
CERAMIC, WOOD, FIBER BOARD, PLASTIC
Catalogue Number
P19980048020
Material Type
Artifact
Other Name
POTTERY ART MASK
Date Range From
1990
Date Range To
1999
Materials
CERAMIC, WOOD, FIBER BOARD, PLASTIC
No. Pieces
2
Height
4.5
Length
28.5
Width
28.6
Description
A DRAGON MASK WITH A SWORD IN IT'S MOUTH IS MOUNTED AND FRAMED IN A LARGE, LIGHT BROWN WOOD FRAME WITH A GOLD COLORED RIM AROUND THE INTERIOR. ALSO MOUNTED INSIDE THE FRAME, IS A GOLD STICKER WHICH READS, "THE REPUBLIC OF CHINA. CHIA YI HSIEN CHAUG LI YA-CHING". THE FRAME IS KEPT INSIDE A DARK GREEN BOX. THE FRONT COVER OF THE BOX HAS AN ELABORATE DESIGN EMBOSSED ON IT IN THE SHAPE OF THE DRAGONS FACE. AROUND THE FACE, ARE 4 BAT LIKE CREATURES. IN CONTRAST TO THE DARK SURFACE, THERE ARE GOLD CHINESE CHARACTERS AS WELL AS A SMALLER GOLD DESIGN IN THE BOTTOM RIGHT CORNER. COMPLIMENTING THESE GOLD IMAGES AND CHARACTERS IS A SMALL BRIGHT RED CHARACTER AT THE TOP LEFT, AND SMALL RED DESIGNS INTERTWINED WITH THE GOLD DESIGN IN THE LOWER RIGHT. ON THE RIGHT HAND EDGE OF THE BOX, THERE ARE FURTHER GOLD AND RED CHARACTERS. A SMALL RED LOOP MADE OF A SYNTHETIC FABRIC IS USED AS A HANDLE TO REMOVE THE LID (WHICH IS HINGED ON THE LEFT SIDE) FROM THE REST OF THE BOX. THE MEASURMENTS FOR THE BOX ARE, HEIGHT- 8.3 CM, LENGTH- 30.5 CM WIDTH- 30.2 CM.
Subjects
CEREMONIAL ARTIFACT
Historical Association
DECORATIVE ARTS
POLITICS
History
GIVEN BY A TAIWANESE DELEGATION TO LETHBRIDGE. A CIVIC GIFT, NOT PERSONAL. ACCORDING TO S.E. ASIAN TRADITION, IT IS REQUIRED THAT DURING AN OFFICIAL VISIT TO ANOTHER AREA A GIFT IS BROUGHT ALONG. THIS MASK WAS ONE OF THESE GIFTS.
Catalogue Number
P19980048020
Acquisition Date
2002-02
Collection
Museum
Less detail

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