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Other Name
JAPANESE "KABEKAKE"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19970041097
  1 image  
Material Type
Artifact
Other Name
JAPANESE "KABEKAKE"
Date Range From
1980
Date Range To
1990
Materials
WOOD
No. Pieces
1
Height
0.7
Length
38.2
Width
5.7
Description
WOODEN PLAQUE HAS NATURAL FINISH AND IS RECTANGULAR IN SHAPE WITH BOTTOM RIGHT CORNER CUT AWAY. PLAQUE HAD BLACK PAINTED JAPANESE CHARACTERS DOWN LENGTH. AT BOTTOM IS CIRCULAR RED STAMP.
Subjects
ART
Historical Association
FINE ARTS
History
WALL HANGING HUNG IN THE NAKAYAMA HOME IN VANCOUVER AFTER REV. NAKAYAMA RETURNED THERE IN 1980. THE NAKAYAMA FAMILY WERE 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. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. NO NEW INFORMATION ABOUT THIS ARTIFACT WAS FOUND. THE JAPANESE WORD "KABEKAKE" TRANSLATES AS "ORNAMENT".
Catalogue Number
P19970041097
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Other Name
JAPANESE PAINTING
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19970041090
  1 image  
Material Type
Artifact
Other Name
JAPANESE PAINTING
Date Range From
1970
Date Range To
1980
Materials
PAPER
No. Pieces
1
Height
0.2
Length
40.8
Width
31.7
Description
RECTANGULAR HEAVY CARDBOARD BACKING WITH JAPANESE ART WORK ON IT. BACKGROUND IS MIXTURE OF FLOWING PASTEL COLORS. MIDDLE IS TWO SHEETS OF PAPER WITH THREE HAND PAINTED FLOWERS IN BLACK INK. TWO SQUARE RED STAMP MARKS ARE ALSO ON PAPER. GOLD COLORED EDGING. BACK IS COVERED WITH SILVER PAINT SPLATTERS.
Subjects
ART
Historical Association
FINE ARTS
History
ART WORK WAS DONE BY KANEKO JOHKOH, COUSIN OF REV. G.G. NAKAYAMA, AND WAS GIVEN TO REV. NAKAYAMA AS A GIFT. THE NAKAYAMA FAMILY WERE 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. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING INFORMATION ON THE ARTIST, KANEKO JOHKOH WAS FOUND ON HER WEBSITE, ARTISSPECTRUM.COM, AND THE BLOG OF THE AGORA ART GALLERY, NEW YORK. KANEKO JOHKOH WAS BORN IN OZU, JAPAN IN 1923. SHE BEGAN OIL PAINTING AT THE AGE OF 38, AND FIRST USED THE TECHNIQUE OF BOKUSHO, ABSTRACT CALLIGRAPHIC INK PAINTING, IN 1983. SIMPLICITY AND ZEN CALMNESS ARE FUNDAMENTAL TO HER COMPOSITIONS. SHE RARELY PLANS HER PAINTINGS, WORKING QUICKLY ON SPONTENAIETY AND IMPULSE. IN 1988 JOHKOH MOVED TO VANCOUVER. HER WORK HAS BEEN EXHIBITED ACROSS CANADA AND INTERNATIONALLY IN PARIS, TOKYO, AND NEW YORK. KANEKO JOHKOH IS THE FIRST COUSIN ONCE REMOVED OF THE DONOR, JOY KOGAWA. A POEM BY THE ARTIST, POSTED ON HER WEBSITE IN AUGUST 2012, IS LISTED AS BEING TRANSLATED BY KOGAWA. REV. NAKAYAMA AND HIS WIFE LOIS MOVED BACK TO VANCOUVER IN 1979 AFTER HIS RETIREMENT FROM THE CHURCH OF THE ASCENSION IN COALDALE. IT IS LIKELY THAT THIS ARTWORK CAME INTO THE NAKAYAMA'S POSSESSION DURING THIS LATER PERIOD OF THEIR LIVES, AS BOTH THEY AND JOHKOH WOULD HAVE BEEN LIVING IN VANCOUVER IN THE LATE 1980S. SEE PERMANENT FILE FOR HARDCOPIES OF ONLINE SOURCES.
Catalogue Number
P19970041090
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Other Name
JAPANESE PAINTING
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19970041094
  1 image  
Material Type
Artifact
Other Name
JAPANESE PAINTING
Date Range From
1970
Date Range To
1980
Materials
PAPER
No. Pieces
1
Height
0.2
Length
36.2
Width
7.6
Description
RECTANGULAR HEAVY CARDBOARD BACKING WITH JAPANESE ART WORK ON IT. BACKGROUND IS WHITE FIBROUS PAPER WITH GOLD COLORED EDGING. TOP HALF OF AREA IS FILLED WITH THREE LINES OF JAPANESE CHARACTERS DESCENDING FROM RIGHT TO LEFT. IN BOTTOM HALF IS UNIDENTIFIED EMBLEM WHICH IS BLACK, BROWN AND PURPLE. IN BOTTOM LEFT CORNER ARE TWO JAPANESE CHARACTERS WITH SQUARE RED SYMBOL. ON BACK AT TOP RIGHT IS LINE OF HAND PRINTED JAPANESE CHARACTERS IN PENCIL.
Subjects
ART
Historical Association
FINE ARTS
History
ART WORK WAS DONE BY KANEKO JOHKOH, COUSING OF REV. G.G. NAKAYAMA, AND WAS GIVEN TO REV. NAKAYAMA AS A GIFT. THE NAKAYAMA FAMILY WERE 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. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING INFORMATION ON THE ARTIST, KANEKO JOHKOH WAS FOUND ON HER WEBSITE, ARTISSPECTRUM.COM, AND THE BLOG OF THE AGORA ART GALLERY, NEW YORK. KANEKO JOHKOH WAS BORN IN OZU, JAPAN IN 1923. SHE BEGAN OIL PAINTING AT THE AGE OF 38, AND FIRST USED THE TECHNIQUE OF BOKUSHO, ABSTRACT CALLIGRAPHIC INK PAINTING, IN 1983. SIMPLICITY AND ZEN CALMNESS ARE FUNDAMENTAL TO HER COMPOSITIONS. SHE RARELY PLANS HER PAINTINGS, WORKING QUICKLY ON SPONTENAIETY AND IMPULSE. IN 1988 JOHKOH MOVED TO VANCOUVER. HER WORK HAS BEEN EXHIBITED ACROSS CANADA AND INTERNATIONALLY IN PARIS, TOKYO, AND NEW YORK. KANEKO JOHKOH IS THE FIRST COUSIN ONCE REMOVED OF THE DONOR, JOY KOGAWA. A POEM BY THE ARTIST, POSTED ON HER WEBSITE IN AUGUST 2012, IS LISTED AS BEING TRANSLATED BY KOGAWA. REV. NAKAYAMA AND HIS WIFE LOIS MOVED BACK TO VANCOUVER IN 1979 AFTER HIS RETIREMENT FROM THE CHURCH OF THE ASCENSION IN COALDALE. IT IS LIKELY THAT THIS ARTWORK CAME INTO THE NAKAYAMA'S POSSESSION DURING THIS LATER PERIOD OF THEIR LIVES, AS BOTH THEY AND JOHKOH WOULD HAVE BEEN LIVING IN VANCOUVER IN THE LATE 1980S. SEE PERMANENT FILE FOR HARDCOPIES OF ONLINE SOURCES.
Catalogue Number
P19970041094
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Other Name
JAPANESE "KABEKAKE"
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19970041096
  1 image  
Material Type
Artifact
Other Name
JAPANESE "KABEKAKE"
Date Range From
1970
Date Range To
1980
Materials
WOOD
No. Pieces
1
Height
1
Length
60
Width
8.6
Description
WOODEN PLAQUE HAS NATURAL FINISH AND SHAPE WITH WHITE HAND DRAWN JAPANESE CHARACTERS PAINTED DOWN ITS LENGTH. ON BACK ARE TWO PAPER LABELS, ONE WITH JAPANESE WRITING ON IT AND THE OTHER WITH ENGLISH. ENGLISH TEXT READS "WHEN THIS HANGS IN YOUR ROOM MAY IT FILL YOUR HEART WITH THE REAL ATMOSPHERE OF JAPAN AND BRING JOY TO ALL YOUR FRIENDS."
Subjects
ART
Historical Association
FINE ARTS
History
WALL HANGING HUNG IN THE NAKAYAMA HOME IN COALDALE, LIKELY GIVEN TO THE REV. G.G. NAKAYAMA AS A GIFT. THE NAKAYAMA FAMILY WERE 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. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. NO NEW INFORMATION ABOUT THIS ARTIFACT WAS FOUND. THE JAPANESE WORD "KABEKAKE" TRANSLATES AS "ORNAMENT".
Catalogue Number
P19970041096
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Other Name
BREWERY GARDEN
Date Range From
1975
Date Range To
1985
Material Type
Artifact
Materials
WOOD, PAPER
Catalogue Number
P19900020090
  1 image  
Material Type
Artifact
Other Name
BREWERY GARDEN
Date Range From
1975
Date Range To
1985
Materials
WOOD, PAPER
No. Pieces
1
Length
69.2
Width
48.8
Description
FRAMED COLOR PHOTO PRINT OF BREWERY GARDEN IN SUMMER. SIGNED LR "AE CROSS" PRINT SLIPPED IN FRAME. SEE CONSERVATION REPORT.
Subjects
ART
Historical Association
FINE ARTS
History
PHOTO SHOWS DEVELOPMENT OF GARDEN ABOUT 1980. PRINT IS MATCHED WITH WINTERNIGHT SCENE SEE P19900020091-GA. SEE P19900020001-GA FOR LETHBRIDGE BREWERY HISTORY. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE LETHBRIDGE BREWERY GARDENS WAS DEVELOPED WITH INFORMATION FROM THE GALT MUSEUM BROCHURE 'ALBERTA'S PRIDE: A HISTORY OF THE LETHBRIDGE BREWERY' AND RECORD P19900020032. THE BREWERY GARDENS, LOCATED ON THE NORTHWEST HILLSIDE ADJACENT TO THE SICK'S BREWERY, WERE DESIGNED IN 1949 WITH THE HELP OF DR. W.H. FAIRFIELD, FORMER SUPERINTENDENT OF THE LOCAL DOMINION EXPERIMENTAL FARM. THE GARDENS WERE PLANTED WITH THE INTENTION OF KEEPING THE HILL FROM SLIDING, BUT BECAME A TOURIST ATTRACTION, WINNING NUMEROUS AWARDS. INITIALLY THE GARDENS FEATURED A CENTREPIECE "6" IN PLANTS AND FLOWERS THAT WERE MAINTAINED BY HEAD GARDENER TOM JONES. THE GARDENS WERE EXPANDED IN 1958 WHEN MORE SPRUCE TREES WERE PLANTED TO FORM A WINDBREAK, AND AGAIN IN 1965 WHEN A ROCK GARDEN AND WATERFALL WERE INSTALLED. WHEN THE BREWERY CEASED OPERATION IN 1990, THE CITY OF LETHBRIDGE TOOK OVER THE MANAGEMENT OF THE BREWERY GARDENS.
Catalogue Number
P19900020090
Acquisition Date
1991-01
Collection
Museum
Images
Less detail
Other Name
BREWERY GARDEN
Date Range From
1975
Date Range To
1985
Material Type
Artifact
Materials
WOOD, PAPER
Catalogue Number
P19900020091
  1 image  
Material Type
Artifact
Other Name
BREWERY GARDEN
Date Range From
1975
Date Range To
1985
Materials
WOOD, PAPER
No. Pieces
1
Length
69.2
Width
48.8
Description
FRAMED COLOR PHOTO PRINT OF BREWERY GARDEN IN WINTER DURING CHRISTMAS SEASON. SIGNED LR "AE CROSS".
Subjects
ART
Historical Association
FINE ARTS
History
PHOTO SHOWS DEVELOPMENT OF GARDEN ABOUT 1980. PRINT IS MATCHED WITH SUMMERDAY SCENE. SEE P19900020090-GA. SEE P19900020001-GA FOR LETHBRIDGE BREWERY HISTORY. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE LETHBRIDGE BREWERY GARDENS WAS DEVELOPED WITH INFORMATION FROM THE GALT MUSEUM BROCHURE 'ALBERTA'S PRIDE: A HISTORY OF THE LETHBRIDGE BREWERY' AND RECORD P19900020032. THE BREWERY GARDENS, LOCATED ON THE NORTHWEST HILLSIDE ADJACENT TO THE SICK'S BREWERY, WERE DESIGNED IN 1949 WITH THE HELP OF DR. W.H. FAIRFIELD, FORMER SUPERINTENDENT OF THE LOCAL DOMINION EXPERIMENTAL FARM. THE GARDENS WERE PLANTED WITH THE INTENTION OF KEEPING THE HILL FROM SLIDING, BUT BECAME A TOURIST ATTRACTION, WINNING NUMEROUS AWARDS. INITIALLY THE GARDENS FEATURED A CENTREPIECE "6" IN PLANTS AND FLOWERS THAT WERE MAINTAINED BY HEAD GARDENER TOM JONES. THE GARDENS WERE EXPANDED IN 1958 WHEN MORE SPRUCE TREES WERE PLANTED TO FORM A WINDBREAK, AND AGAIN IN 1965 WHEN A ROCK GARDEN AND WATERFALL WERE INSTALLED. WHEN THE BREWERY CEASED OPERATION IN 1990, THE CITY OF LETHBRIDGE TOOK OVER THE MANAGEMENT OF THE BREWERY GARDENS.
Catalogue Number
P19900020091
Acquisition Date
1991-01
Collection
Museum
Images
Less detail
Other Name
N.T. (GAILLARDIA)
Date Range From
1975
Date Range To
1985
Material Type
Artifact
Materials
PAPER, WATERCOLOUR, GRAPHITE
Catalogue Number
P20110018002
  1 image  
Material Type
Artifact
Other Name
N.T. (GAILLARDIA)
Date Range From
1975
Date Range To
1985
Materials
PAPER, WATERCOLOUR, GRAPHITE
No. Pieces
1
Height
31
Length
0.1
Width
23.3
Description
WATERCOLOUR AND GRAPHITE ON PAPER. SIGNED BY THE ARTIST "JESSE URSENBACH", NO DATE. DEPICTION OF THREE SUNFLOWERS AND TWO LEAVES. GRAPHITE DRAWING VISIBLE THROUGH PAINT. BACK HAS MASKING TAPE AROUND EDGES. TEXT READS, "WJ27 BROWN EYED SUSAN 10.00, (GAILLARDIA)". SLIGHT ACID BITE AROUND EDGES OF WORK FROM PREVIOUS MATTING.
Subjects
ART
Historical Association
FINE ARTS
History
DONOR RUTH DAW ACQUIRED THE TWO DONATED WATERCOLOUR PAINTINGS IN THE EARLY 1980S FROM THE “HOUSE OF FINE ART” LOCATED AT 409 - 5TH STREET SOUTH. THREE UNFRAMED URSEBACHS WERE ORIGINALLY ACQUIRED FROM THE STORE, THE DONATED TWO GIVEN BY DAW TO HER A DAUGHTER WHO LATER RETURNED THEM ON ACCOUNT OF RE-LOCATING TO AUSTRALIA. A SECOND DAUGHTER IS IN POSSESSION OF THE THIRD URSENBACH WORK “HENDERSON LAKE, 1947”. THE THREE PAINTINGS ORIGINALLY COST DAW ABOUT $40 TO $80. DAW SPECULATES THAT URSENBACH WAS SELLING WORK BECAUSE SHE WAS DOWNSIZING TO A SMALLER HOUSE. AT THE TIME OF DONATION DONOR SAID, “[THEY WERE] SHOWN IN [MY] HOME, HAD THEM IN MY BEDROOM. [I] PICKED THEM OUT BECAUSE SHE (URSENBACH) WAS GOOD AT FLOWER PAINTINGS.” IN PREVIOUS DONATIONS, THE DONOR GAVE WORKS WHICH FEATURED HISTORIC LETHBRIDGE AS THEIR SUBJECT. DONOR SAID “I COLLECTED FLOWER PAINTINGS [BECAUSE] I LOVE THE FAMILIARITY OF THE WORK [AND I] ALSO HAVE A CERAMIC COLLECTION OF PRAIRIE PICTURES FROM SASKATCHEWAN.” THE DONOR WAS FRIENDS WITH JESSIE URSENBACH’S DAUGHTER MARILYN KRAMMER. DAW DESCRIBES JESSIE URSENBACH AS, “A SHORT LADY, QUITE REGAL LOOKING. SHE IS ONE OF THE PILLARS OF THE LOCAL MORMON CHURCH. URSENBACH PAINTED WHAT SHE HAD OUT OF HER GARDEN.” DAW WAS FROM MEDICINE HAT WHERE SHE WAS WORKING ON THE HISTORY OF THE BRITISH WALK REFUGEES IN SOUTHERN ALBERTA. DAW’S FATHER HAD PASSED AWAY AND SO SHE AND HER BROTHER WORKED THEIR WAY THROUGH UNIVERSITY. SHE TAUGHT AT HAMILTON JR. HIGH IN THE 1950S. DAW WAS A COUNCILOR, ENGLISH TEACHER, SOCIAL STUDIES TEACHER, PHYSICAL EDUCATION TEACHER AND WORKED WITH SPECIAL NEEDS STUDENTS. SHE ACQUIRED HER MA IN 1977 AND LEFT HAMILTON FOR A BRIEF PERIOD TO HAVE CHILDREN. DAW BEGAN COLLECTING ART, “WHEN I HAD SOME SPARE MONEY” AROUND THE 1980S. THESE PAINTINGS MARK THE BEGINNING OF RUTH’S ART COLLECTION. FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHY OF JESSIE REDD URSENBACH WAS SOURCED FROM THE RECORDS OF PREVIOUS DONATIONS OF URSENBACH'S WORK BY THE DONOR, RUTH DAW. JESSIE REDD URSENBACH WAS BORN IN NEW HARMONY, UTAH ON AUGUST 15, 1895, TO WILLIAM AND VERENA BRYNER REDD. URSENBACH WAS RAISED AND EDUCATED IN RAYMOND, GRADUATING FROM THE KNIGHT ACADEMY IN 1912. SHE ATTENDED SUMMER SESSIONS AT THE UNIVERSITY OF ALBERTA & THE ALBERTA NORMAL SCHOOL IN CALGARY, AND TAUGHT ART IN SCHOOLS IN RAYMOND, CARDSTON, AND GLENWOOD. SHE WAS A CHARTER MEMBER OF THE LETHBRIDGE SKETCH CLUB & HANDLED CLUB PUBLICITY FOR MANY YEARS. URSENBACH ATTENDED THE BANFF SCHOOL OF FINE ARTS IN THE SUMMER OF 1937 ON A SCHOLARSHIP, AND CONTINUED PAINTING PROLIFICALLY FOR THE NEXT 11 YEARS UNDER THE DIRECTION OF PROFESSOR H.G. GLYDE. URSENBACH ALSO RECEIVED ART TRAINING UNDER A.Y. JACKSON (GROUP OF SEVEN ARTIST), AND STUDIED AT THE ONTARIO COLLEGE OF ART IN TORONTO, STUDYING MODERN ART UNDER RODY COURTICES (THOUGH SHE PREFFERED THE MORE TRADITIONAL STYLES OF LANDSCAPE AND STILL LIFE). URSENBACH WAS AFFILIATED WITH THE CANADIAN FEDERATION OF ARTISTS UNDER WHICH SHE EXHIBITED FROM COAST TO COAST, INCLUDING IN NEW YORK CITY AND CALIFORNIA. SHE TUTORED A LARGE CLASS OF PRIVATE PUPILS IN LETHBRIDGE FOR A NUMBER OF YEARS UNTIL SHE BEGAN THE VOCATION OF MATRON AT THE LATTER DAY SAINTS TEMPLE IN CARDSTON. JESSIE URSENBACH DIED ON MAY 11, 1987. THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” *UPDATE* IN 2018, COLLECTIONS INTERN KIRSTAN SCHAMUHN CONDUCTED A SURVEY OF PERSONAL ARTIFACTS. ON 26 NOVEMBER 2018, SCHAMUHN INTERVIEWED RUTH DAW REGARDING HER PRIOR DONATIONS. THE INFORMATION BELOW HAS BEEN EXTRACTED FROM THAT INTERVIEW: ON HER COLLECTION OF JESSIE URSENBACH PAINTINGS, DAW RECOUNTED: “I COLLECTED THEM. SHE HAD A DISPERSED SALE, AND I LIKED THEM AND I PICKED THEM UP—I LIKE THE FLOWERS VERY MUCH AND ENJOYED THEM MANY, MANY YEARS AND THE TIME [HAD] COME TO SEND THEM OFF SO I SENT THEM TO THE MUSEUM. I KNEW THEY WERE COLLECTING SOME OF HER STUFF.” “I MUST HAVE PICKED THEM…PROBABLY IN THE ‘70S AND ‘60S. SHE DID HAVE A SHOW AND SALE, IT WAS MAYBE THE SKETCH CLUB’S, SO THAT’S WHY I PICKED THESE UP.” WHEN ASKED ABOUT WHY SHE CHOSE TO COLLECT URSENBACH PAINTINGS, DAW RESPONDED, “I WAS ATTRACTED TO [THE] FLOWER PICTURES AND TO THE HISTORIC ASPECT OF THEM. I WAS INTERESTED IN HISTORIC LETHBRIDGE.” “AT THAT PARTICULAR TIME, SHE WAS QUITE WELL-KNOWN AND I REALLY LOVED HER FLOWER PICTURES; THEY’RE REALLY SPECTACULAR.” WHEN ASKED ABOUT HER RELATIONSHIP WITH URSENBACH, DAW RECALLED, “I HAVE MET HER [URSENBACH]. I WORKED IN THE HOME AND SCHOOLS WITH HER DAUGHTER QUITE A BIT. HER DAUGHTER WAS A FRIEND OF MINE SO I WORKED QUITE A BIT WITH HER IN RELATION TO HOME AND SCHOOL [ASSOCIATIONS]. AND I WORKED WITH THEM, TOO, WHEN I WAS OUT WITH MY OWN KIDS AND [WE] GOT ALONG JUST FINE. SHE WAS FINE, SHE WAS A VERY ENTHUSIASTIC PERSON. VERY CRAFTY, VERY MUCH AN ARTIST’S DAUGHTER.” WHEN ASKED ABOUT HER INTEREST AND INVOLVEMENT WITH THE LETHBRIDGE SKETCH CLUB, DAW ELABORATED, “IT WAS PROBABLY THE 1970S. THAT WAS WHEN I WENT BACK TO WORK AND WE HAD A NEWER HOUSE. WE MOVED TO A BIGGER HOUSE, AND THAT WAS PROBABLY WHERE I GOT THE PICTURES, FOR THAT.” “WE [RUTH AND CLIFF DAW] WEREN’T ACTUALLY INVOLVED WITH THEM. WE WERE APPRECIATORS.” “WE LIKED THE ART. MY HUSBAND [CLIFF DAW] WAS AWARE OF THE GOOD ARTISTS THAT WERE AVAILABLE. MY FAMILY HAD NEVER SPENT ANY MONEY ON ANYTHING LIKE THAT AT ALL, SO I BECAME AWARE OF IT AND SINCE WE WERE [IN A] NEW HOUSE WE WERE HAVING DIFFERENT SORTS OF THINGS. EVERYTHING WAS NEW AND EVERYTHING WAS AVAILABLE SO WE JUST WENT WITH THE FLOW.” PLEASE SEE PERMANENT FILE P20110018001 FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF ARTICLES REGARDING THE FAMILY HISTORY.
Catalogue Number
P20110018002
Acquisition Date
2011-06
Collection
Museum
Images
Less detail
Other Name
SOAPSTONE OWL
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
SOAPSTONE
Catalogue Number
P19970041341
Material Type
Artifact
Other Name
SOAPSTONE OWL
Date Range From
1970
Date Range To
1980
Materials
SOAPSTONE
No. Pieces
1
Height
12.5
Length
6.7
Width
4.6
Description
GREEN POLISHED IMPRESSIONISTIC SOAPSTONE SCULPTURE SHAPED TO RESEMBLE AN OWL. SCULPTURE HAS MULTIPLE SMALL CHIPS.
Subjects
ART
Historical Association
FINE ARTS
COMMEMORATIVE
History
SCULTPURE WAS LIKELY BROUGHT BACK AS A SOUVENIR BY DONOR'S FATHER FROM ONE OF MANY TRIPS HE TOOK. ORIGIN UNKNOWN, POSSIBLY INUIT. THE NAKAYAMA FAMILY WAS ORIGINALLY FROM VANCOUVER BUT MOVED TO COALDALE FOLLOWING THE SECOND WORLD WAR WHEN THEY WERE INTERNED AT SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA BY THE CANADIAN GOVERNMENT. THE DONOR'S FATHER, REV. CANON G.G. NAKAYAMA, WAS AN ANGLICAN MINISTER IN VANCOUVER, AND THEN ESTABLISHED THE CHURCH OF THE ASCENSION IN COALDALE IN 1945 WHERE HE SERVED UNTIL 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041341
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
COAT OF ARMS (FRAMED)
Date Range From
1966
Date Range To
1985
Material Type
Artifact
Materials
GLASS, PLASTIC, PAPER
Catalogue Number
P19870034023
  1 image  
Material Type
Artifact
Other Name
COAT OF ARMS (FRAMED)
Date Range From
1966
Date Range To
1985
Materials
GLASS, PLASTIC, PAPER
No. Pieces
1
Length
31.2
Width
24.1
Description
FRAME DIMENSIONS ABOVE. COAT OF ARMS OF THE STAFFORDSHIRE REGIMENT. 1ST BATTALLION (THE PRINCE OF WALES') SURROUNDED BY BATTLE RIBBONS 1914 TO 1944.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
FROM FORMER MAYOR A.C. ANDERSON'S OFFICE. SEE P19870034001-GA FOR HISTORY. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON COMPILED THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT A. C. ANDERSON FROM GALT ARCHIVES RECORD 20061053009: "ANDREW CHARLES (ANDY) ANDERSON WAS BORN IN 1909 IN SHABBONA, ILLINOIS, THE ELDEST OF SIX CHILDREN OF CHARLES ERIC AND BERTHA ANDERSON (NEE OSTERVIG). THE ANDERSON FAMILY MOVED TO CHAMPION, ALBERTA IN 1912. ANDY ANDERSON WORKED ON THE FAMILY FARM UNTIL 1930, A YEAR AFTER HIS FATHER’S DEATH. HE THEN DECIDED TO LEAVE THE FARM AND ENTER THE UNIVERSITY OF ALBERTA. IN 1934 MR. ANDERSON GRADUATED FROM THE UNIVERSITY OF ALBERTA WITH A PHM.C. (PHARMACEUTICAL CHEMIST) DEGREE. HE APPRENTICED WITH J.D. HENDERSON IN CHAMPION, AND THEN MOVED TO LETHBRIDGE WHERE HE WAS EMPLOYED BY THE R.J. KITSON PHARMACY FOR 14 YEARS. IN 1948 MR. ANDERSON ESTABLISHED ANDERSON’S MEDICAL DENTAL PHARAMCY. THE PHARMACY STILL OPERATES UNDER THE OWNERSHIP OF MR. ANDERSON’S SON MURRAY. ANDY ANDERSON MARRIED HIS WIFE RHETA IN 1938 IN CHAMPION. AS WELL AS THEIR SON MURRAY, THE ANDERSONS HAD A DAUGHTER MARILYN (MARRIED LEW HUTCHISON). ANDY ANDERSON ENTERED PUBLIC LIFE IN 1950 WHEN HE WAS ELECTED TO THE LETHBRIDGE PUBLIC SCHOOL BOARD (LPSB). HE SERVED ON THE LPSB FOR 14 YEARS AND WAS ITS CHAIRMAN IN 1954, 1958 AND 1962. IN 1964, ANDY ANDERSON WAS ELECTED TO LETHBRIDGE CITY COUNCIL AND SERVED AS AN ALDERMAN UNTIL 1968. IN MARCH 1968 MR. ANDERSON BECAME THE MAYOR OF LETHBRIDGE WHEN HE CHOSEN FOR THE POSITION BY THE OTHER MEMBERS OF CITY COUNCIL FOLLOWING MAYOR FRANK SHERRING’S RESIGNATION ON 5 MARCH 1968. ANDY ANDERSON BECAME THE LONGEST SERVING MAYOR IN LETHBRIDGE HISTORY, RETIRING FROM OFFICE IN 1986. HE WON FOUR MUNICIPAL ELECTIONS, AND WAS ACCLAIMED MAYOR TWICE AS WELL. AS WELL AS HIS POLITICAL CAREER AND PHARMACY BUSINESS, MR. ANDERSON WAS INVOLVED WITH A WIDE RANGE OF COMMUNITY ORGANIZATIONS. AMONG THEM ARE THE LETHBRIDGE CHAMBER OF COMMERCE, ST. MICHAEL’S HOSPITAL ADVISORY BOARD, UNIVERSITY OF LETHBRIDGE SENATE AND BOARD OF GOVERNORS, LETHBRIDGE RECREATION COMMISSION, THE COMMUNITY CHEST, SOUTHMINSTER UNITED CHURCH, ROYAL CANADIAN SEA CADET CORPS, CANADIAN WESTERN NATURAL GAS, MASONIC LODGE NO. 39, THE KINSMEN CLUB, THE ROTARY CLUB, INDEPENDENT ORDER OF ODD FELLOWS (IOOF), CHINOOK CLUB AND THE BENEVOLENT AND PROTECTIVE ORDER OF ELKS (BPOE). HE WAS ALSO AN HONOURARY MEMBER OF THE LETHBRIDGE AND DISTRICT HORTICULTURAL SOCIETY, GENERAL STEWART BRANCH NO. 4 ROYAL CANADIAN LEGION, AND THE POLISH COMBATANTS ASSOCIATION. ANDY ANDERSON ALSO SERVED AS A MEMBER OF THE EXECUTIVE COUNCIL OF THE CANADIAN CHAMBER OF COMMERCE, THE PROVINCIAL MUNICIPAL ADVISORY COMMITTEE, THE EXECUTIVE OF THE CANADIAN FEDERATION OF MAYORS AND MUNICIPALITIES, THE ENVIRONMENTAL CONSERVATION AUTHORITY COMMITTEE, HONOURARY PRESIDENT OF ST. JOHN AMBULANCE, AND AS THE HONOURARY COLONEL OF THE 20TH INDEPENDENT FIELD BATTERY RCA. AMONG THE AWARDS AND HONOURS ANDY ANDERSON RECEIVED DURING HIS LIFE WERE A PAUL HARRIS FELLOWSHIP FROM ROTARY INTERNATIONAL; CERTIFICATE OF MERIT FROM THE ROYAL CANADIAN LEGION; GOOD CITIZENSHIP AWARD FROM THE IOOF; CITIZEN OF THE YEAR AWARD FROM THE JAYCEES (1985); AWARD OF EXCELLENCE FROM THE ALBERTA URBAN MUNICIPALITIES ASSOCIATION (1983); MERITORIUS SERVICE AWARD FROM THE CANADIAN PHARMACEUTICAL ASSOCIATION (1977); ROBINS COMMUNITY SERVICE AWARD (1963); THE QUEEN’S MEDAL (1977); BROTHER OF THE ORDER OF ST. JOHN (1983), LATER PROMOTED TO OFFICER; HONOURARY DOCTOR OF LAWS DEGREE FROM THE UNIVERSITY OF LETHBRIDGE (1985); AND A MEMBER OF THE ORDER OF CANADA (1985). ANDREW CHARLES ANDERSON DIED ON 23 APRIL 1996 AND IS BURIED IN MOUNTAIN VIEW CEMETERY, LETHBRIDGE. HIS WIFE RHETA DIED IN 2011 AND IS BURIED IN MOUNTAIN VIEW CEMETERY AS WELL. [SOURCE: ARCHIVES VERTICAL FILE, "PEOPLE, IDENTIFIED - A"] IT IS NOT KNOWN WHY ANDERSON HAD THIS COAT OF ARMS IN HIS OFFICE, AS HE DID NOT SERVE IN THE STAFFORDSHIRE REGIMENT. THE FOLLOWING INFORMATION ABOUT THE PRINCE OF WALES' NORTH STAFFORDSHIRE REGIMENT WAS FOUND ON THE WEBISTE OF THE UNITED KINGDOM'S NATIONAL ARMY MUSEUM. THE REGIMENT FORMED DURING THE 1881 BRITISH ARMY REFORMS BY MERGING THE 64TH AND 98TH REGIMENTS OF FOOT, THE 64TH BECOMING THE NEW UNIT'S 1ST BATTALION AND THE 98TH, THE 2ND. THE 1ST SERVED IN SOUTH AFRICA, MAURITIUS, MALTA, EGYPT, SUDAN, AND INDIA. THE 2ND SERVED IN THE BOER WAR AND INDIA. BOTH BATTALIONS STAYED IN THE SAME THEATRE THROUGHOUT WORLD WAR ONE, AND IN 1919 THE 1ST WAS SENT TO IRELAND FOR THE IRISH WAR OF INDEPENDENCE, AND THEN TO INDIA FOR GARRISON DUTIES UNTIL ACTION IN BURMA DURING WORLD WAR TWO. IN 1948 THE TWO BATTLIONS MERGED AND WERE STATIONED IN EGYPT. IN 1959 THE REGIMENT WAS COMBINED WITH THE SOUTH STAFFORDSHIRE REGIMENT. SEE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P19870034023
Acquisition Date
1987-11
Collection
Museum
Images
Less detail
Other Name
COALMINER'S SYMPHONY
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
ACRYLIC ON MASONITE
Catalogue Number
P19770039000
  1 image  
Material Type
Artifact
Other Name
COALMINER'S SYMPHONY
Date Range From
1970
Date Range To
1980
Materials
ACRYLIC ON MASONITE
No. Pieces
1
Length
68.0
Width
50.8
Description
PAINTING IS COMPOSED OF SHAPES RESEMBLING THE TOOLS USED BY COAL MINERS BEFOR MECHANIZATION. PICK, SHOVEL, DYNAMITE STICKS, FUSES, TAMPING BAR, CHAIN, CARBIDE LAMP, LUNCH BUCKET, AUGER, COAL CARS, MINE TIPPLE & UNDERGROUND WORKINGS. TITLED: "COALMINER'S SYMPHONY" A VARIETY OF COLORS USED.
Subjects
ART
Historical Association
FINE ARTS
COAL MINING
History
LOCAL ARTIST, A STRONG SUPPORTER OF THE WORKING MAN ORIGINS OF CITY. DELIBERATE CLASHING OF COLOURS INDICATES THE DIRTY, UNHEALTHY & DANGEROUS CONDITIONS UNDER WHICH MINERS TOILED. STRONG LIGHT EMANATING FROM THE LAMP SYMBOLIZES THE ENERGY HE EXERTED IN ORDER TO EKE OUT A BARE EXISTENCE. ARTIST IS MICHAEL PISKO OF LETHBRIDGE WHO HAD HIS OWN SIGN PAINTING/COMMERCIAL ART BUSINESS IN THE CITY. NOW RETIRED. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON MICHAEL PISKO WAS FOUND IN A PRESS RELEASE ANNOUNCING THE 'MICHAEL PISKO MEMORIAL AWARD', WHICH WAS ESTABLISHED BY THE ARTIST'S WIDOW AND THE ALBERTA SOCIETY OF ARTISTS IN 2000, TO BE AWARDED TO A GRADUATING BFA DEGREE PAINTER FROM THE UNIVERSITY OF LETHBRIDGE: "MICHAEL PISKO WAS BORN IN LETHBRIDGE IN 1913. HE MADE HIS LIVING AS A SUCCESSFUL SIGN PAINTER THROUGH HIS BUSINESS, CITY SIGN COMPANY, BUT LANDSCAPE PAINTING WAS HIS LIFE'S FULFILLMENT. TO HONE HIS SKILLS, HE STUDIED THREE SUMMERS AT THE BANFF SCHOOL OF FINE ARTS AND SOUGHT INSTRUCTION FROM SENIOR VISITING ARTISTS WHO CAME TO LETHBRIDGE ON INVITATION OF THE LETHBRIDGE SKETCH CLUB, OF WHICH HE, IN 1937, WAS ONE OF THE FOUNDING MEMBERS. PISKO GREATLY ADMIRED A.Y. JACKSON, THE GROUP OF SEVEN MASTER, WITH WHOM HE HAD THE OPPORTUNITY TO SKETCH AND PAINT AROUND LETHBRIDGE WHENEVER JACKSON CAME TO TOWN TO VISIT HIS BROTHER. HE WAS ALSO DEEPLY INFLUENCED BY H.G. GLYDE, WHO TAUGHT AT THE ALBERTA COLLEGE OF ART IN CALGARY AND AT THE BANFF SCHOOL OF FINE ARTS AND WHO VISITED LETHBRIDGE TO TEACH ART CLASSES AT THE LETHBRIDGE SKETCH CLUB. IN 1947 PISKO WAS ACCEPTED FOR MEMBERSHIP IN THE ALBERTA SOCIETY OF ARTISTS. HE WAS A PROLIFIC PAINTER, WHO EXHIBITED REGULARLY WITH THE LETHBRIDGE SKETCH CLUB AND THE ALBERTA SOCIETY OF ARTISTS. HIS WORK IS REPRESENTED IN MANY PRIVATE, CORPORATE AND PUBLIC COLLECTIONS, AMONG THEM THE ALBERTA FOUNDATION FOR THE ARTS AND THE UNIVERSITY OF LETHBRIDGE. MICHAEL PISKO PASSED AWAY IN 1999." THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” FOR COPIES OF LETHBRIDGE HERALD ARTICLES ON PISKO AND HIS CAREER, AS WELL AS PROMOTIONAL MATERIALS FOR THE 1995 ARTWALK DEDICATED TO HIM, SEE PERMANENT FILE P19920009001.
Catalogue Number
P19770039000
Acquisition Date
1977-04
Collection
Museum
Images
Less detail
Other Name
SKETCH
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOD, GLASS, PAPER
Catalogue Number
P19960054001
  1 image  
Material Type
Artifact
Other Name
SKETCH
Date Range From
1970
Date Range To
1980
Materials
WOOD, GLASS, PAPER
No. Pieces
1
Height
2.9
Length
72.5
Width
62.2
Description
HAND DRAWN INK SKETCH OF 1913 POST OFFICE IN WOOD FRAME. FRAME IS FANCY BEVELED PIECES WITH DOVE TAIL JOINTS. WOOD HAS SCROLL WORK CARVED INTO ITS SURFACE WITH GOLD PAINTING OVER WHITE. FRAME HAS BLACK MATTING AND FLAT GLASS PANE. SKETCH IS OF 1913 POST OFFICE IN LETHBRIDGE. HAS MAPLE LEAF CANADIAN FLAG. IN BOTTOM LEFT HAND CORNER IS ARTIST'S SIGNATURE "JERRY ARNOLD". EDGES AND CORNERS OF FRAME ARE WORN.
Subjects
DOCUMENTARY ARTIFACT
ART
Historical Association
FINE ARTS
History
SKETCH WAS DRAWN FOR USE BY THE CITY OF LETHBRIDGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING INFORMATION ON THE ARTIST, JERRY ARNOLD, WAS COMPILED FROM WEB SOURCES INCLUDING DOWNTOWNLETHBRIDGE.COM AND SOUTHERNALBERTA.COM. JERRY ARNOLD HAS WORKED AS A PROFESSIONAL ARTIST FOR MUCH OF HIS ADULT LIFE. IN 1994 HE OPENED THE JERRY ARNOLD GALLERY AND CUSTOM FRAMING BUSINESS ON 3RD AVENUE SOUTH. THE GALLERY SHOWCASES A VARIETY OF CONTEMPORARY CANADIAN LANDSCAPE AND WILDLIFE ART, AS WELL AS A COLLECTION OF INUIT SCULPTURE. ARNOLD WORKS FROM HIS STUDIO, LOCATED IN THE GALLERY.
Catalogue Number
P19960054001
Acquisition Date
1996-05
Collection
Museum
Images
Less detail
Other Name
“THEY SHALL BEAT THEIR SWORDS INTO PLOWSHARES…”
Date Range From
1975
Date Range To
1980
Material Type
Artifact
Materials
BRONZE
Catalogue Number
P20140028000
  1 image  
Material Type
Artifact
Other Name
“THEY SHALL BEAT THEIR SWORDS INTO PLOWSHARES…”
Date Range From
1975
Date Range To
1980
Materials
BRONZE
No. Pieces
1
Height
38.25
Length
92
Width
1.5
Description
RECTANGULAR PLAQUE MADE OF CAST BRONZE. IMAGE IN LOW RELIEF DEPICTS A FARMER SITTING BEHIND A PLOW BEING PULLED BY SIX HORSES. TEXT RUNNING ALONG THE BOTTOM EDGE READS “THEY SHALL BEAT THEIR SWORDS INTO PLOWSHARES… ISA. 2:4”. VERY GOOD CONDITION OVERALL.
Subjects
ART
PERSONAL SYMBOL
Historical Association
FINE ARTS
COMMEMORATIVE
RELIGION
History
THIS PLAQUE BELONGED TO JACOB AND KATHERINE KLASSEN, PARENTS OF THE DONOR, BEV HALL. IT WAS CREATED BY THE ARTIST JOHN PETER KLASSEN, JACOB'S UNCLE. ON JULY 22, 2014, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BEV HALL AND HER UNCLE, JOHN KLASSEN, ABOUT THEIR FAMILY HISTORY AND ASSOCIATION WITH THIS PLAQUE. KLASSEN SAID: “[OUR FAMILY] HAD TREMENDOUS PROSPERITY [IN THE UKRAINE] UP UNTIL THE FIRST WORLD WAR, AND THAT’S WHEN THINGS STARTED TO GET BAD. AND IN 1917, THE COMMUNIST REVOLUTION TOOK ON, AND THE AREA THAT THESE PEOPLE LIVED IN, THEY LIVED IN VILLAGE, AND THERE WAS REVOLUTION. THEY HAD THE RED ARMY WHO SUPPORTED THE TSAR OF RUSSIA, AND THEN, OF COURSE, THE COMMUNIST GROUP, UNDER LENIN, THEY WERE THE WHITE ARMY, THEY CALLED IT. AND WHERE THESE PEOPLE LIVED, THEY WERE IN KIND OF A TRANSITION AREA. IT’S THE SAME AREA NOW THAT’S IN TROUBLE IN THE UKRAINE. THE RED ARMY WOULD COME THROUGH, AND WHEN THEY CAME THROUGH THE VILLAGES, THEY WOULD TAKE THEIR HORSES, THEIR LIVESTOCK, MURDER AND RAPE. IT WAS TERRIBLE. WHEN THEY GOT DRIVEN BACK, THEN THE WHITE ARMY DID THE SAME THING, AND, SO THEY WERE RUNNING FOR THEIR LIVES. AND, AS IF THAT WASN’T BAD ENOUGH THEY HAD A TYPHUS EPIDEMIC DURING THAT TIME, AND THEN IN 1920, THEY HAD A DROUGHT, A FAMINE, AND, BECAUSE IT WAS WARFARE, THEY WEREN’T ALLOWED, NOBODY COULD GO OUT IN A FIELD. YOU’D GET SHOT IF YOU DID, AND SO NOBODY WAS GROWING FOOD, JUST HORRIBLE CONDITIONS. SO THIS IS WHAT ENCOURAGED THEM TO LEAVE, TO MIGRATE.” KLASSEN CONTINUED: “[IMMIGRANTS] CAME PENNILESS. IN FACT, THEY CAME IN DEBT. IT WAS THE CANADIAN PACIFIC RAILROAD THAT FUNDED THEIR PASSAGE, AND, AFTER THEY WERE HERE SEVERAL YEARS, THEY REPAID THE PASSAGE. AND THE AGREEMENT WAS, THE GOVERNMENT OF CANADA WANTED TO SETTLE WESTERN CANADA, AND THEY’D HEARD THAT MENNONITES ARE GOOD FARMERS AND THEY HAD BEEN VERY PROSPEROUS IN THE UKRAINE, AND SO THEY BROUGHT THEM OVER… AND THE CPR NEEDED TO GET FREIGHT FOR THEIR TRAINS, SO THEY WANTED TO SETTLE THE WEST WITH FARMERS [TOO]… AND THAT WAS THE CONDITION OF THEIR IMMIGRATION, WAS THAT THEY WOULD BE FARMERS… LAND WAS PRETTY WELL FREE. OR YOU COULD GET IT ON A CROP SHARE BASIS… I THINK THAT’S HOW [MY FATHER HENRY] GOT THE FIRST LAND. AND THEN THEY WOULD GIVE A QUARTER OF THEIR CROP FOR PAYMENT EACH YEAR. SO THERE WAS SO MUCH LAND HERE, SO THE COUNTRY WAS SHORT OF LABOUR, SHORT OF FARMERS. AND IT WAS BACK BREAKING WORK. IT WAS REALLY DIFFICULT. AND THE WOMEN AND THE KIDS WERE OUT IN THE FIELDS HOEING BEETS, AND DOING FARM WORK… MY DAD WAS THE FIRST MENNONITE IN VAUXHALL. THEN THERE WERE OTHERS CAME IN THAT SAME FALL, AND NEXT YEAR, AND SO IT GOT TO BE A FAIRLY PROSPEROUS COMMUNITY AND THERE ARE ACTUALLY TWO MENNONITE CHURCHES THERE [NOW].” WHEN ASKED ABOUT HIS UNCLE JOHN PETER KLASSEN, THE ARTIST OF THIS PLAQUE, KLASSEN SAID “HE WAS AN ART INSTRUCTOR [AT BLUFFTON COLLEGE]… [BEFORE IMMIGRATING] HE STUDIED ART IN SWITZERLAND AND IN GERMANY, [FOR] NINE YEARS. AND IT WAS IN 1914 WHEN THE FIRST WORLD WAR BROKE OUT AND HE WAS WITHIN ONE YEAR OF HIS PHD IN ART, WHEN ALL THE RUSSIAN CITIZENS FROM THE UKRAINE AND RUSSIA WERE CALLED BACK BECAUSE OF THE WAR, SO THAT ENDED HIS INTELLECTUAL TRAINING… BECAUSE OF THE REVOLUTION THAT FOLLOWED AFTER 1917 IN RUSSIA, THEY LOST ALL THEIR PROPERTY… [THE KLASSEN FAMILY] IMMIGRATED TO CANADA IN 1923… HE GOT A JOB IN EDMONTON AS A BRICKLAYER, [BUT SIX MONTHS LATER] GOT THIS OFFER IN BLUFFTON. THEY WANTED TO START AN ART DEPARTMENT. THEY’D HEARD ABOUT HIM, AND SO HE MIGRATED TO THE UNITED STATES… HE WAS AN ART PROFESSOR FOR THE REST OF HIS LIFE, FOR 34 YEARS, I BELIEVE… THIS [EDITION OF PLAQUES] WAS KIND OF HIS MAJOR WORK THAT HE DID THERE, AND [THERE ARE PLAQUES] IN BLUFFTON COLLEGE [AND] ALSO IN THE MUSEUM IN GRETNA, MANITOBA.” ACCORDING TO JOHN KLASSEN, PAUL KLASSEN, SON OF THE ARTIST, HAD A SECOND EDITION OF PLAQUES MADE FROM HIS FATHER’S ORIGINAL MOULD IN 1980, TO BE DISTRIBUTED TO KLASSEN FAMILY MEMBERS. KLASSEN SAID: “HE HAD THESE MADE, CONTRACTED IN A FOUNDRY, TO POUR THEM FOR THEM. SO HE HAD TO HAVE FIRM ORDERS TO HAVE THIS DONE… THAT’S AS MANY AS THEY MADE AT THAT TIME… [PAUL] ASKED WHETHER WE’D WANT IT, AND WE SIGNED UP FOR IT [AT A FAMILY REUNION], AND, I THINK, AT THAT TIME THEY WERE CLOSE TO $300.00 APIECE… MY BROTHER LIVED IN GLASGOW, MONTANA, AND [THE PLAQUE WAS] SHIPPED THERE, AND THEN WE PUT IT IN THE BACK OF THE CAR, AND THE CAR KIND OF WENT DOWN WHEN WE PUT THIS HUNDRED POUND PLAQUE IN THE BACK…” BEV HALL DESCRIBED HER PARENTS’ RELATIONSHIP TO THE PLAQUE, SAYING: “DAD AND MUM WOULD’VE ATTENDED THAT FAMILY REUNION, AND DAD WOULD’VE PUT IN AN ORDER FOR THE PLAQUE. I JUST REMEMBER A STORY OF SOMETHING ABOUT WHEN THEY BROUGHT [THE PLAQUES] ACROSS THE LINE; THEY HAD DIFFICULTY GOING THROUGH CUSTOMS BECAUSE CUSTOMS DIDN’T REALLY KNOW WHAT CATEGORY TO PUT IT UNDER. SO THE STORY I HEARD WAS THAT THEY DECIDED JUST TO CALL IT ‘SCRAP METAL’, TO BRING IT ACROSS… [THE PLAQUE REPRESENTS] THE HISTORY NOT ONLY OF THE FAMILY BUT THE FAITH THAT BROUGHT THE FAMILY ACROSS TO CANADA. SO, IT’S THE FOUNDATION… THE BUILDING BLOCK… I JUST THINK THAT IT SHOULD BE HONORED, NOT ONLY AS A PIECE OF ART, BUT ALSO FOR EVERYTHING IT SIGNIFIES TO US AS A FAMILY… IT’S OUR HISTORY: THE AGRICULTURE AND THE FAITH, TOGETHER.” WHEN ASKED ABOUT THE SIGNIFICANCE OF THE BIBLICAL PASSAGE REFERENCED ON THE PLAQUE, JOHN KLASSEN SAID: “PART OF OUR FAITH IS TO LEARN TO DO GOOD, SEEK JUSTICE, RESCUE THE OPPRESSED, DEFEND THE ORPHAN; PLEAD THE CAUSE OF THE WIDOW, AND THIS IS KIND OF AN EXPRESSION OF OUR FAITH IN THAT, THAT’S WHAT OUR FAITH STANDS FOR. THE QUOTATION ON THE BOTTOM THERE IS FROM THE BOOK OF ISAIAH THE PROPHET. IT SAYS THAT, “THEY SHALL BEAT THEIR SWORDS INTO PLOUGHSHARES; THEIR SPEARS INTO PRUNING HOOKS. NATIONS SHALL NOT LIFT UP SWORD AGAINST NATION; NEITHER SHALL THEY LEARN WAR ANYMORE.” AND, THE MENNONITES ARE PACIFISTS… WE WILL DO EVERYTHING WE CAN TO WORK FOR PEACE BUT WE WILL NOT BE INVOLVED IN WAR.” THE FOLLOWING BIOGRAPHY OF THE ARTIST, JOHN PETER KLASSEN, WAS DEVELOPED WITH INFORMATION FROM THE BOOK ‘ARTIST AS PEACEMAKER’, PUBLISHED BY BLUFFTON COLLEGE (OHIO), 1989. KLASSEN WAS BORN IN 1888 IN CHORTITZA, UKRAINE, A MENNONITE SETTLEMENT. HE STUDIED ART IN SWITZERLAND AND GERMANY BEFORE THE OUTBREAK OF WORLD WAR I, WHEN HE WAS CALLED BACK TO RUSSIA FOR MANDATORY SERVICE. KLASSEN AND OTHER MENNONITES SERVED WITH THE RED CROSS AS A PACIFIST ALTERNATIVE TO BEARING ARMS. IN 1921 HE MARRIED ANNA DYCK, AND THEY IMMIGRATED TO CANADA WITH THEIR YOUNG SON THE FOLLOWING YEAR. DURING THE FAMILY’S FIRST YEAR IN CANADA, KLASSEN RECEIVED AN OFFER TO JOIN THE NEW BLUFFTON COLLEGE ART FACULTY IN BLUFFTON, OHIO, WHERE THE FAMILY SETTLED IN 1924. IN 1931 KLASSEN’S APPLICATION FOR AMERICAN CITIZENSHIP WAS DENIED DUE TO HIS REFUSAL TO PLEDGE TO BEAR ARMS IN DEFENSE OF THE UNITED STATES. TWO YEARS LATER THE DECISION WAS OVERTURNED, AND LED TO A CHANGE IN THE OATH TAKEN BE APPLICANTS FOR CITIZENSHIP OF THE UNITED STATES. KLASSEN RETIRED FROM BLUFFTON COLLEGE IN 1959, AND DIED IN 1975. SEE PERMANENT FILE FOR HARDCOPIES OF THE FULL INTERVIEW TRANSCRIPT AND SOURCE MATERIALS.
Catalogue Number
P20140028000
Acquisition Date
2014-07
Collection
Museum
Images
Less detail
Other Name
WEBLEY MK 1, SN '27'
Date Range From
1970
Date Range To
1990
Material Type
Artifact
Materials
STEEL, BRONZE
Catalogue Number
P20070016000
Material Type
Artifact
Other Name
WEBLEY MK 1, SN '27'
Date Range From
1970
Date Range To
1990
Materials
STEEL, BRONZE
No. Pieces
1
Height
17.0
Length
26.3
Width
4.5
Description
REVOLVER, 6 SHOT, .455 CALIBRE, SILVER FINISH ON STEEL (?), BRONZE GRIPS CAST IN A LEAF PATTERN, MARKED, “…1972” CYLINDER MARKED, “27” RIGHT SIDE OF GUN MARKED WITH A CROWN OVER “R, O” IN FRONT OF CYLINDER, METAL LANYARD LOOP AT BOTTOM OF GRIP. GRIPS NOT ORIGINAL TO REVOLVER.
Subjects
ARMAMENT-FIREARM
Historical Association
FINE ARTS
LEISURE
History
BARBARA MARTENS CONSULTED WITH HER HUSBAND, DONOR CORNIE MARTENS (WHO WAS THEN IN THE HOSPITAL) AT TIME OF DONATION. THE DONOR PURCHASED THE REVOLVER TO USE AS AN EXAMPLE FOR WESTERN SCULPTURES. HE PURCHASED IT FROM A GUN SHOP IN VANCOUVER IN THE EARLY 1970S. CORNIE MARTENS, A BRONZE SCULPTOR, COLLECTED ABOUT FIVE OR SIX GUNS IN ORDER TO USE THEM AS MODELS FOR HIS WESTERN SCULPTURES. WHILE HE HAD A SMALL COLLECTION OF FIREARMS, THIS WEBLEY MK1 REVOLVER WAS THE ONLY ONE HE EVER ALTERED. HE REPLACED THE GRIPS WITH ONES HE HAD SCULPTED SOME TIME IN THE LATE 1970S. ACCORDING TO HIS WIFE, HE SCULPTED THE GRIPS "JUST FOR INTEREST." THE DONOR WAS BORN IN THE UKRAINE AND MOVED TO SASKATCHEWAN AT A YOUNG AGE. NOT LONG AFTER THAT, HIS FAMILY RELOCATED TO COALDALE, WHERE MARTENS RESIDED FOR THE REMAINDER OF HIS LIFE. THE DONOR BECAME INTERESTED IN ART WHEN HE WAS A BOY. ALTHOUGH HE HAD NO FORMAL TRAINING, MUCH OF HIS ARTWORK WAS SCULPTURAL. HE WORKED IN BRONZE, WAX, PLASTICINE, ALUMINUM, TIN, CLAY, FIBREGLASS AND MORE. WESTERN MOTIFS AND THE RODEO WERE THEMES FOUND THROUGHOUT HIS ARTWORK. SOME OF HIS WORKS INCLUDE, A BRONZE MINER STATUE FOR THE "MINER'S LIBRARY", A STATUE OF JERRY POTTS (AWARDED TO OUTSTANDING CONTRIBUTORS TO SOUTHERN ALBERTA TOURISM) AND MORE. CORNIE MARTENS PASSED AWAY ON JULY 29, 2009. FOR MORE INFORMATION SEE PERMANENT FILE.
Catalogue Number
P20070016000
Acquisition Date
2009-03
Collection
Museum
Less detail
Other Name
SAMPLE MATERIAL
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
NYLON
Catalogue Number
P19960112086
  2 images  
Material Type
Artifact
Other Name
SAMPLE MATERIAL
Date Range From
1980
Date Range To
1990
Materials
NYLON
No. Pieces
2
Height
1
Length
24.4
Width
16.5
Description
WHITE PAPER ENVELOPE WITH RED PRINT READING "SECOND CHANCE TESTING INSTRUCTIONS" WITH DESCRIPTION OF PRODUCT AND USE. CONTAINS STITCHED BUNCH OF YELLOW NYLON FABRIC OF DIFFERENT THICKNESSES OF WEAVE. EDGES FRAYED.
Subjects
ARTIFACT REMNANT
Historical Association
SAFETY SERVICES
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112086
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19990061022
Material Type
Artifact
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Materials
PAPER
No. Pieces
1
Height
0.1
Length
55.9
Width
43.2
Description
RECTANGULAR, HEAVY CARD. HAS A BLUE BORDER. PRINTED WITHIN BORDER, AT BOTTOM IS "EATON'S GOODS SATISFACTORY OR MONEY REFUNDED", IN WHITE. WITHIN BORDER IS A WHITE RECTANGLE, WITH A RED LINE THAT RUNS JUST INSIDE EDGES OF RECTANGLE. PRINTED WITHIN WHITE RECTANGLE, IN BLUE AND RED, IS "EATON'S FIRST FOR QUALITY. FOR PRICE. COMPETITIVE PRICES ALL THE TIME". EACH CORNER OF POSTER HAS A SMALL PIN HOLE IN IT.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061022
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19990061023
Material Type
Artifact
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Materials
PAPER
No. Pieces
1
Height
0.1
Length
55.8
Width
43.0
Description
RECTANGULAR, HEAVY CARD. WHITE BACKGROUND. HALF OF A RED RECTANGLE SURROUND AN INNER BLUE RECTANGLE. PRINTED WITHIN RED RECTANGLE, IN WHITE, IS "THE EATON GUARANTEE:". WRITTEN WITHIN BLUE RECTANGLE, IN WHITE, IS "GOODS SATISFACTORY OR MONEY REFUNDED". BELOW BLUE RECTANGLE IS A WAVY, RED AND BLUE STRIPED BANNER. THERE IS ALSO A SIMILAR, SHORT BANNER AT TOP RIGHT OF RED RECTANGLE. AT THE BOTTOM OF POSTER, IN BLUE, IS "EATON'S". EACH CORNER OF POSTER HAS A SMALL PIN HOLE IN IT.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061023
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
SET OF MARQUEE LETTERS
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P19990061027
Material Type
Artifact
Other Name
SET OF MARQUEE LETTERS
Date Range From
1980
Date Range To
1999
Materials
PLASTIC, PAPER
No. Pieces
1
Height
2.3
Length
25.1
Width
22.5
Description
CLEAR PLASTIC BAG. BAG IS FOLDED OVER AT TOP, AND CLOSED WITH TWO STAPLES. HAS A WHITE PRICE TAG WITH "2.00" WRITTEN ON IT IN BLUE PEN. INSIDE BAG ARE MULTIPLE CLEAR PLASTIC RECTANGLES WITH BLUE LETTERS, NUMBERS, AND OTHER CHARACTERS ON THEM. THERE ARE SOME NUMBERS IN THE BAG THAT ARE RED. ONE LARGE PIECE HAS "HARDWARE" ON IT IN BLUE.
Subjects
ADVERTISING MEDIUM
VISUAL COMMUNICATION T&E
Historical Association
RETAIL TRADE
History
USED ON SIGNS IN LETHBRIDGE EATON'S STORE. MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061027
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
BUTTON
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PLASTIC, TIN, CARDBOARD
Catalogue Number
P19990061011
Material Type
Artifact
Other Name
BUTTON
Date Range From
1980
Date Range To
1999
Materials
PLASTIC, TIN, CARDBOARD
No. Pieces
1
Height
0.8
Length
5.3
Width
5.3
Description
SQUARE, BLUE. IN GOLD PRINT, ON FRONT, READS "EATON'S WE'VE GOT THE PLAN.". BELOW THIS IS A LOWER CASE "E" WITHIN A CIRCLE, AND A SMALL "TM" TO THE LOWER RIGHT, ALL IN GOLD. IN THE BACKGROUND THERE IS THE TOP 3/4 OF A LOWER CASE "E" WITHIN A CIRCLE, IN LIGHT BLUE. PRINTED ON BACK EDGE OF BUTTON, IN WHITE, IS "MADE IN CANADA BY H.A.S. NOVELTIES LTD. TORONTO (416)593-1101". BACK OF BUTTON IS LINED WITH A PIECE OF CARDBOARD, AND HAS A SILVER PIN AND CATCH.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061011
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PAPER, BRASS
Catalogue Number
P19990061030
Material Type
Artifact
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Materials
PAPER, BRASS
No. Pieces
1
Height
0.1
Length
243.0
Width
92.0
Description
PAPER; RECTANGULAR. FRONT OF BANNER HAS RED BACKGROUND, AND READS IN WHITE Z"TOGETHER, WE'RE MAKING IT BETTER". ON RIGHT SIDE, OF FRONT, IS THE PICTURE OF AN EATON'S CREDIT CARD. CARD IS WHITE WITH NAVY BLUE AND BURGUNDY STRIPES; ABOVE STRIPES READS "EATON'S", AND BELOW STRIPES READS "1234 5678 9012 TIMOTHY EATON". THERE ARE TWO HORIZONTAL BLUE LINES THAT RUN ACROSS FRONT OF BANNER. ON BOTTOM RIGHT OF FRONT ARE FOUR TRIANGLES, THAT ALTERNATE IN COLOUR FROM BLUE TO WHITE. TOP LEFT OF FRONT, HAS THREE TRIANGLES, THAT ARE BLUE, WHITE, AND BLUE. EACH CORNER OF BANNER, AND TOP CENTRE, HAS A HOLE WITH A BRASS GROMMET. EACH EDGE OF BANNER IS HEMMED. BACK IS PLAIN WHITE.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061030
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
"2&7"
Date Range From
1987
Date Range To
1992
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20190022007
  2 images  
Material Type
Artifact
Other Name
"2&7"
Date Range From
1987
Date Range To
1992
Materials
WOOD, PAINT
No. Pieces
1
Height
1.2
Length
49
Width
46
Description
WOOD SIGN SHAPED LIKE THE NUMBERS 2 AND 7 CONNECTED. FRONT OF SIGN HAS ORANGE “2” AND RED “7” PAINTED WITH BLACK AMPERSAND “&” IN CENTER; NUMBERS ARE PAINTED ON WHITE BACKFROUND, WITH RED DROP-SHADOWS. SIDES OF SIGN ARE PAINTED WHITE. BACK IS UNPAINTED PRESSED WOOD BOARD; BACK HAS TWO DRILLED HOLES FOR HANGING IN CENTER. FRONT HAS LOSS ALONG LOWER EDGE OF “7”; FRONT IS STAINED AT TOP ARCH OF “2” AND ALONG EDGES; BACK IS STAINED RED AT EDGES AND STAINED IN THE CENTER; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE “2&7” STATION SIGN, DWORNIK RECALLED, “[THE SIGN LOOKS HANDMADE, HAND-PAINTED] THAT’S AGAIN, JUST A STUDIO PROP FOR THE…NEWS READERS [AND STORED IN THE ENGINEER’S ROOM].” “[THE YEARS 2&7 RAN WERE A] VERY HIGH PROFILE, EXCITING TIME FOR THE STATION AS WELL. THE REASON THEY WENT WITH THE 2 AND 7, WE DIDN’T CHANGE, AT THAT TIME, TO OFFICIALLY CHANGE OUR CALL LETTERS, WE WERE STILL CFAC, SO WE MADE THAT TRANSITION INTO 2 AND 7. WHAT MANAGEMENT HAD DONE OUT OF CALGARY WAS ARRANGE WITH ALL THE CABLE COMPANIES TO PUT US ONTO EITHER CHANNEL 2 OR CHANNEL 7…[CALGARY’S] TRANSMITTER WAS BROADCASTING ON CHANNEL 2 OFF AIR. WE WERE BROADCASTING ON CHANNEL 7 OFF AIR. WE WERE CHANNEL 2 ON CABLE, AND THEY WERE 7 UP IN CALGARY, AND THEY WERE ABLE TO COMFORTABLY NEGOTIATE WITH ALL THE CABLE OPERATORS TO PUT US ON EITHER 2 AND 7…FROM CROWSNEST PASS INTO CRANBROOK AND CRESTON. THAT’S ALSO THE TIME WHEN THE OLYMPICS WAS HAPPENING AND THE PROMOTIONAL DIRECTOR IN CALGARY WAS JUST AMAZING. THE PROMOTIONAL MANAGER AND THEY HAD A SALES MANAGER. BOYD ASH WAS PROMOTIONS MANAGER THERE AND HE GOT ON THIS IDEA OF THE 2 AND 7, AND HE ALSO GOT ON TO [MAKING] LAPEL PINS. THEY MUST HAVE DESIGNED AND DISTRIBUTED…HUNDREDS OF THOUSANDS OF [LAPEL] PINS…PEOPLE LOVED THEM…I THINK THAT’S WHAT PROMPTED IT, BECAUSE WELL, IT WAS KNOWN THAT TRADING PINS WAS A BIG DEAL…IT WAS VERY HIGH PROFILE AND LOTS OF GREAT PROMOTIONAL THINGS HAPPENING WITH, AGAIN, EXCITING TIMES AND SOME FUN STUFF.” “[THE ERA OF 2&7] I WOULD SAY ABOUT ’87 TO ABOUT ’92 AGAIN I THINK…[IT WAS VERY SHORT] AND I THINK PART OF THAT MIGHT BE TIED INTO THE FACT THAT THE SATELLITE STUFF IS COMING ON…THAT WAS THE REASON TO DO THE 2 AND 7 IS THAT IT’S EASY, LIKE IF YOU SAY, ‘WELL I’M LOOKING FOR CJOC, WHERE DO I FIND CJOC ON MY CABLE LINE UP?’ BUT IF YOU’RE JUST LOOKING FOR A NUMBER THAT WAS EASIER. BUT THEN I DON’T THINK THEY WERE GOING TO CONTINUE NEGOTIATING THAT, FOR WHATEVER REASON.” “[BEFORE 2&7 THE STATION WAS] CFAC…SAME COLOURS. THE RED AND YELLOW THERE.” DWORNIK ELABORATED ON THE ROLE OF ENGINEERS AT THE STATION, NOTING, “[THE ENGINEER’S ROLE IS] BASICALLY TO KEEP US ON THE AIR. THERE’S SO MUCH ELECTRONIC AND TECHNICAL EQUIPMENT THEY HAD TO KNOW ABOUT TRANSMITTERS, MICROWAVE, VIDEOTAPE, ALL THE ELECTRONICS, AND THEY ALSO DID MAINTENANCE ON THE BUILDING.” “THE LAST ENGINEER WAS LET GO IN AN UNFORTUNATE SITUATION, IN THE SUMMER OF [2014]…WE DID NOT HAVE A STATION MANAGER. AT ONE TIME WE HAD A STATION MANAGER [PETER DEYES] WHO WAS ALSO THE NEWS DIRECTOR, WHEN I CAME BACK. THAT FELLOW LEFT…THEY BROUGHT IN AN ASSIGNMENT EDITOR FROM TORONTO, AND SHE WAS…NOT EVEN THE NEWS DIRECTOR, WHICH WAS TERRIBLE; THEY CALLED HER THE NEWS MANAGER. MANAGEMENT OF THE STATION WAS TAKEN OVER BY THE CALGARY TELEVISION, AND THE ENGINEERING RESPONSIBILITIES WERE TAKEN OVER BY CALGARY TELEVISION.” “WE’D HAVE TO CALL [ENGINEERS WHEN THERE WAS EQUIPMENT ISSUES]. AT THAT TIME, WE HAD MORE CAMERAS THAN VIDEOGRAPHERS, SO THEY KIND OF HAD A SPARE ON HAND. IF ONE WENT DOWN, THEY’D BE OKAY. AND, AT THAT TIME, EVERYTHING ELSE WAS SHIFTED AWAY FROM THE STATION, AND WAS AUTOMATED. IT WAS JUST MIND-BOGGLING THE AUTOMATION THAT THEY HAD AVAILABLE. CALGARY TELEVISION WAS…KIND OF THE MASTER CONTROL CENTER FOR ALL OF THE GLOBAL TELEVISION STATIONS IN CANADA. SO, IT WAS JUST AMAZING, ALL THE MONITORS IN THEIR MASTER CONTROL…ONE OF THE CENTERS WAS, I THINK, SWITCHED OUT OF EDMONTON…ALL THE COMMERCIALS THAT PLAYED ALL ACROSS CANADA, ORIGINATED OUT OF CALGARY TELEVISION. AND THEY WEREN’T VIDEO TAPE MACHINES, AT THAT TIME, THEY WERE BASICALLY COMPUTERS.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022007
Acquisition Date
2019-08
Collection
Museum
Images
Less detail

20 records – page 1 of 1.