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Other Name
"1945 RED CROSS QUILT"
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170035000
  2 images  
Material Type
Artifact
Other Name
"1945 RED CROSS QUILT"
Date
1945
Materials
COTTON, WOOL
No. Pieces
1
Length
214
Width
168.5
Description
BLUE AND PINK QUILT WITH PATTERN OF 56 PINK DIAMONDS INTERLAID WITH BLUE DIAMONDS; PINK FABRIC DIAMONDS HAVE NAMES EMBROIDERED IN BLUE THREAD, LISTED BELOW. BLUE DIAMONDS HAVE AN EMBROIDERED FOUR PETAL DESIGN STITCHED IN FABRIC. QUILT HAS BLUE EMBROIDERED TEXT ON TWO CENTER DIAMONDS, “1945” AND “RED CROSS”. QUILT HAS FINISHED EDGES WITH PINK BORDERS. QUILT HAS FRAYING AND LOSS ON UPPER RIGHT EDGE; FABRIC AND EMBROIDERED TEXT IS FADED; QUILT HAS MINOR BROWN STAIN ON BACK AT LOWER EDGE; OVERALL VERY GOOD CONDITION. EMBROIDERED NAMES ON FRONT OF QUILT [ALPHABETICAL]: ANNAND, ASHMAN, BAILEY, BAKER, BARNES, BELL, BURNS, CARLSON, CARNELL, CHAMBERS, CHRISTIANSEN, CYNCH, DAYMON, DELANY, DEVEBER, DICKSON, DILATUSH, FALLON, FOSTER, GAIRNS, GIDDIE, GLADSTONE, GOBLE, GOING, GREGORY, HAGGLUND, HARRISON, HARWOOD, HATFIELD, HAUG, HINTON, HOLROYD, KEMMIS, KLOPPENBORG, MATKIN, MCEWEN, MCKENZIE, O’BRAY, PITTAWAY, PRESLEY, RACKETTE, REEVES, ROPER, SHERMAN, STEWART, STRATE, THOMAS, UDELL, WACHER, ZORN.
Subjects
ART
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
THE WATERTON PARK RED CROSS QUILT WAS CREATED BY WATERTON FAMILIES DURING THE SECOND WORLD WAR AND WAS EMBROIDERED WITH THE SURNAMES OF WATERTON RESIDENTS LIVING IN THE PARK DURING THE HOMEFRONT PERIOD. THE QUILT FEATURES 50 NAMES EMBROIDERED ON THE SURFACE, ALL SURNAMES OF WATERTON FAMILIES IN THE COMMUNITY DURING WORLD WAR 2 ACCORDING TO BERT PITTAWAY IN A LETTER TO THE WATERTON NATURAL HISTORY ASSOCIATION. THE QUILT WAS PART OF A RED CROSS SOCIETY INITIATIVE THAT SAW GLOBAL AND CANADIAN COMMUNITIES CREATE QUITS FOR SENDING OVERSEAS AND FOR RAISING FUNDS FOR THE RED CROSS. ACCORDING TO ONLINE INFORMATION FROM HALIFAX WOMEN’S HISTORY [HTTP://HALIFAXWOMENSHISTORY.CA/CANADIAN-COMFORT-QUILTS] AND ACTIVE HISTORY [HTTP://ACTIVEHISTORY.CA/2017/07/RED-CROSSES-AND-WHITE-COTTON-MEMORY-AND-MEANING-IN-FIRST-WORLD-WAR-QUILTS/], RED CROSS QUILTS WERE COMMONLY CREATED BY CANADIAN COMMUNITIES AS CIVILIAN CONTRIBUTIONS TO WAR EFFORTS DURING BOTH WORLD WARS. THE QUILTS WERE SENT TO THE RED CROSS FOR DISTRIBUTION TO FAMILIES DISPLACED BY THE WAR OVERSEAS AND TO REFUGEES; QUILTS WERE ALSO RAFFLED PUBLICLY IN COMMUNITIES TO RAISE FUNDS FOR QUILTING GROUPS AND THE RED CROSS. THE WATERTON QUILT WAS RAFFLED IN 1945 AND WON BY MARY PITTAWAY OF WATERTON. BERT PITTAWAY DONATED THE QUILT TO THE WATERTON NATURAL HISTORY ASSOCIATION FOR DISPLAY AT THE WATERTON HERITAGE CENTRE IN THE 1980S, IN MEMORY OF BERT’S PARENTS MARY AND JOHN EDWARD PITTAWAY. JOHN EDWARD PITTAWAY, FATHER OF JACK, BERTRAM, AND DENNIS PITTAWAY, BEGAN HIS MILITARY CAREER AS AN ARMY TRUMPETER IN AN IRISH MILITIA UNIT. J.E. PITTAWAY JOINED THE REGULAR ARMY IN NOVEMBER 1893, SERVING IN WORLD WAR 1 AND WORLD WAR 2, IN WORLD WAR 2 ACHIEIVING THE RANK OF BATTERY SERGEANT MAJOR. J.E. PITTAWAY MOVED TO WATERTON IN 1927 FROM IRELAND. J.E. PITTAWAY WORKED FOR THE PARKS DEPARTMENT AS A GARDENER AND THEN AS A CAMPGROUND CARETAKER. J.E. PITTAWAY DIED MARCH 13, 1956, WITH HIS FINAL TRIBUTE IN CALGARY ON MARCH 17, 1956. ACCORDING TO THE PARKS CANADA WEBSITE ON WATERTON NATIONAL PARK, MEMORY OF THE WARS WERE “…INSCRIBED ON LANDFORMS IN PLACE NAMES…AND THE CELEBRATION OF PEACE WAS GIVEN SYMBOLIC FORM IN THE ESTABLISHMENT OF THE WORLD’S FIRST INTERNATIONAL PEACE PARK IN 1932.” WATERTON NATIONAL PARK FEATURES LAKES, RIDGES, AND PEAKS NAMED WITH REFERENCES TO THE WORLD WARS, INCLUDING AVION RIDGE, FESTUBERT MOUNTAIN, AND MOUNT ALDERSON. IN 2017, THE WATERTON NATURAL HISTORY ASSOCIATION DISSOLVED AND REPRESENTATIVES FROM WATERTON LAKES PARK FACILITATED THE TRANSFER OF THE COLLECTIONS TO OTHER INSTITUTIONS. THE 1945 WATERTON QUILT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AS PART OF THE EFFORTS TO RE-HOME THE WATERTON NATURAL HISTORY ASSOCIATION’S COLLECTION. FOR MORE INFORMATION INCLUDING THE LETTER FROM BERT PITTAWAY, DONATION NOTES FROM THE WATERTON NATURAL HISTORY ASSOCIATION, INFORMATION FROM THE PARKS CANADA WEBSITE ON WATERTON LAKES PARK, AND NEWSPAPER CLIPPINGS ON THE PITTAWAY FAMILY, PLEASE SEE THE PERMANENT FILE P20170035000-GA.
Catalogue Number
P20170035000
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
REPLACEMENT CHRISTMAS BULBS
Date Range From
1965
Date Range To
1975
Material Type
Artifact
Materials
METAL, GLASS, PAPER
Catalogue Number
P19930003002
  2 images  
Material Type
Artifact
Other Name
REPLACEMENT CHRISTMAS BULBS
Date Range From
1965
Date Range To
1975
Materials
METAL, GLASS, PAPER
No. Pieces
10
Height
5.1
Length
11.2
Width
2.1
Description
2 PACKAGES OF REPLACEMENT SERIES BULBS, 4 IN EACH PACKAGE. COLORS INCLUDE RED, GREEN & YELLOW. PRICE STICKERS ON EACH PACKAGE, "HOYTS .95" & "WOODWARDS .69" PACKAGE INFO. IN FRENCH & ENGLISH. "MADE IN TAIWAN ESPECIALLY FOR NOMA LITES CANADA LIMITED".
Subjects
LIGHTING DEVICE
ART
Historical Association
FURNISHINGS
History
REPLACEMENTS FOR SERIES WIRED STRING: "WHEN 1 BULB BURNT OUT, ALL WENT OUT UNTIL THE BURNT OUT ONE WAS REPLACED."
Catalogue Number
P19930003002
Acquisition Date
1993-01
Collection
Museum
Images
Less detail
Other Name
CHRISTMAS LIGHT STRING
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PLASTIC, GLASS, BAKELITE
Catalogue Number
P19930003001
  1 image  
Material Type
Artifact
Other Name
CHRISTMAS LIGHT STRING
Date Range From
1940
Date Range To
1950
Materials
PLASTIC, GLASS, BAKELITE
No. Pieces
1
Length
280.0
Description
STRING OF CHRISTMAS LIGHT BULBS WIRED IN SERIES. BAKELITE SOCKETS, C/W 7 COLORED BULBS (ORANGE, GREEN, BLUE, WHITE) CLOTH INSULATED WIRE & 2 PRONG MALE END FOR WALL SOCKET, AND FEMALE END FOR ADDITIONAL STRING IF NECESSARY. FEMALE END MARKED "10 A 250 V", "15A 125V" "R". WHITE BULBS MARKED "GE 114-125 V", "ML". 1 SOCKET BROKEN, SEVERAL CRACKED. SEE CONSERVATION REPORT.
Subjects
LIGHTING DEVICE
ART
Historical Association
FURNISHINGS
History
USED BY DONOR FOR MANY YEARS ON FAMILY CHRISTMAS TREE. REPLACED WITH MODERN STRING BECAUSE: "WHEN 1 BULB BURNT OUT, ALL WENT OUT UNTIL THE BURNT OUT ONE WAS REPLACED." *** INFORMATION BELOW PROVIDED BY DONOR AT THE REQUEST OF THE GALT IN 2010. “CHRISTMAS LIGHT STRING. NOTHING MORE. WHEN ONE BULB BURNT OUT, THE WHOLE STRING WENT OUT. IT TOOK A LOT OF TIME TO FIND THE DEFECTIVE BULB.” ***
Catalogue Number
P19930003001
Acquisition Date
1993-01
Collection
Museum
Images
Less detail
Other Name
CHRISTMAS LIGHT STRING
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PLASTIC, GLASS
Catalogue Number
P19920004001
  1 image  
Material Type
Artifact
Other Name
CHRISTMAS LIGHT STRING
Date Range From
1940
Date Range To
1950
Materials
PLASTIC, GLASS
No. Pieces
1
Length
208.0
Description
STRING OF CHRISTMAS LIGHT BULBS WIRED IN SERIES. BAKELITE SOCKETS, C/W 8 COLORED BULBS (REDS, BLUES, YELLOWS). CLOTH COVERED WIRE & 2 PRONG CONNECTORS FOR WALL SOCKET. BAKELITE CONNECTOR "660 W- 250 V", "NOMA" REVERSE CONNECTOR ADAPTS TO ALLOW ADDITIONAL CONNECTOR PLUG IN. SOME BULBS MARKED.
Subjects
LIGHTING DEVICE
ART
Historical Association
FURNISHINGS
History
NOMA. USED BY DONOR FOR MANY YEARS ON FAMILY CHRISTMAS TREE. REPLACED WITH MORE MODERN STRING. "WHEN 1 BULB BURNT OUT, ALL WENT OUT UNTIL THE BURNT OUT ONE WAS REPLACED." *** INFORMATION BELOW PROVIDED BY DONOR AT THE REQUEST OF THE GALT IN 2010. “THIS ORIGINALLY CAME FROM 'THE BOWLADROME'. WORKED THERE AS A PIN SETTER IN THE EARLY FORTIES, AND WAS GIVEN IT BY HARRY WILLIAMS WHO WAS THE MANAGER OF THE BUSINESS AT THAT TIME. (HARRY WROTE TEAM NAMES AND ALLEY INFORMATION ON A BLACKBOARD. HE HAD BEAUTIFUL HANDWRITING.)” *** *UPDATE* IN 2018 COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT SURVEY, INCLUDING A NUMBER OF ARTIFACTS DONATED BY IRMA DOGTEROM. THE FOLLOWING INFORMATION WAS ESTABLISHED THROUGH ARCHIVAL RESEARCH: “IRMA [DOGTEROM] WAS BORN IN LETHBRIDGE ON OCTOBER 3, 1930,” HER OBITUARY ON THE MARTIN BROTHERS FUNERAL CHAPELS WEBSITE STATES, “AFTER GRADUATING HIGH SCHOOL SHE MET AND MARRIED JAKE DOGTEROM (1926-2015). THEY SET UP HOUSE ON THE FARM EAST OF LETHBRIDGE [IN 1950] AND CORAL, JAN, DAVE, AND NANCY SOON FOLLOWED.” ACCORDING TO JAKE’S OBITUARY, THE COUPLE MOVED INTO LETHBRIDGE IN 1988, THOUGH JAKE CONTINUED TO COMMUTE TO THE FARM TO WORK. THE OBITUARY STATES THAT SHE WAS A TWO-TIME RECIPIENT OF THE QUEEN’S JUBILEE MEDAL. FURTHER LETHBRIDGE HERALD ARCHIVAL SOURCES SPEAK ABOUT HER PASSION FOR LOCAL HISTORY, WHICH HAS BEEN ILLUMINATED THROUGH HER INVOLVEMENT OF NAMING THE STREETS AFTER SIGNIFICANT WOMEN FROM LOCAL HISTORY IN THE LEGACY RIDGE DEVELOPMENT IN NORTH LETHBRIDGE. IRMA DOGTEROM PASSED AWAY IN LETHBRIDGE ON AUGUST 5, 2014 AT THE AGE OF 83 YEARS. INFORMATION ABOUT THE BOWLADROME WAS LEARNED THROUGH ARCHIVAL RESEARCH. A LETHBRIDGE HERALD ARTICLE WAS PUBLISHED ON OCTOBER 8, 1940 PRIOR TO THE OFFICIAL OPENING OF THE NEWLY RENOVATED “HARRY’S BOWLADROME.” THE ARTICLE STATES THAT THE FACILITY WAS OWNED BY LEE AND GORDON BREWERTON OF RAYMOND AND CARDSTON AND WAS MANAGED BY HARRY WILLIAMS. THE RENOVATION RETAINED THE BOWLING ALLEY’S ORIGINAL LOCATION IN THE BAALIM BLOCK ON 6TH STREET SOUTH, BUT ADDED THE UPPER FLOOR TO THE BUSINESS. THE ARTICLE PROVIDES A DESCRIPTION OF THE FACILITY, INCLUDING A DESCRIPTION OF THE “MODERN MOTIF” EVIDENT IN THE DESIGN ELEMENTS. READERS ARE TOLD, “PRESENT INDICATIONS POINT TO THE BIGGEST YEAR BOWLING HAS EVER ENJOYED IN LETHBRIDGE.” A HERALD ARTICLE FROM 1951 STATES THAT THE BOWLADROME WAS “THE LARGEST ESTABLISHMENT OF ITS KIND IN SOUTHERN ALBERTA.” THIS ARTICLE PROVIDES A HISTORY OF THE BUSINESS, STATING THAT IT WAS FIRST OPENED BY HORACE BARRETT AND JAMES K. MOSSEY IN 1928. IN 1934, BARRETT SOLD HIS INTEREST IN THE BUSINESS TO HARRY CHAPMAN, AND IN THE LATE 1930S THE BREWERTON’S PURCHASED THE BUSINESS FROM THE PARTNERS. IN 1947, JOHN ACHTEM PURCHASED THE BUSINESS FROM THE BREWERTON’S. FOLLOWING A RENOVATION, ACHTEM SOLD THE BOWLADROME TO KURT GALLSTROM AND CLARENCE “KEG” BROWN. LETHBRIDGE HERALD RESEARCH INDICATES THAT THE BOWLADROME CLOSED AROUND THE MID TO LATE SEVENTIES. PLEASE SEE PERMANENT FILE P19920004001 FOR MORE INFORMATION ABOUT THE BOWLADROME, INCLUDING LETHBRIDGE HERALD ARTICLES. PLEASE SEE PERMANENT FILE P19930068001 FOR FURTHER INFORMATION ABOUT THE FAMILY, INCLUDING FULL OBITUARIES AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P19920004001
Acquisition Date
1992-01
Collection
Museum
Images
Less detail
Other Name
PICTOGRAPH CHANDELIER
Date Range From
1920
Date Range To
1950
Material Type
Artifact
Materials
PAPER, METAL, LEATHER
Catalogue Number
P20090004000
Material Type
Artifact
Other Name
PICTOGRAPH CHANDELIER
Date Range From
1920
Date Range To
1950
Materials
PAPER, METAL, LEATHER
No. Pieces
1
Height
98.2
Diameter
55.0
Description
PICTOGRAPH CHANDELIER, HEXAGONAL STRUCTURE THAT TAPERS TOWARDS BOTTOM END. COMPRISED OF METAL ROD SKELETON LAYERED WITH PAPER PANELS, PANELS HELD TOGETHER AT EDGES WITH GREY FABRIC TAPE AND SOME STITCHING. EACH OF THE SIX PAPER SIDES HAS BEEN DECORATED WITH PICTURES IN RED, GREEN, YELLOW, AND BLACK PAINT. PICTOGRAPHS INCLUDE ANIMALS (HORSES, COWS, BUFFALO, PIGS, BIRDS), PEOPLE, TEPEES, SYMBOLS OF NATURE (TREES, MOUNTAINS, FIRE, SUNSETS), AND OTHER SYMBOLS, SUCH AS SWASTIKAS AND STARS. TOP OF STRUCTURE HAS "LID" WITH HOLE, PRESUMABLY FOR LIGHT FIXTURE. PAPER IS CRACKED AND TORN THROUGHOUT, RED, ORANGE, AND CLEAR SEALANT HAS BEEN USED TO COVER CRACKS. LARGE HOLE IN CENTER LEFT OF ONE PANEL WITH PIECE OF CARDBOARD TAPED ON. EYEHOOKS AND METAL LOOPS ALONG TOP EDGE ALLOW FOR LID OF STRUCTURE TO SECURE TO BODY AND FOR STRUCTURE TO HANG FROM CEILING . 8 STRIPS OF LEATHER HANGING FROM THREE EDGES, SOME PIECES OF LEATHER LIKELY MISSING.
Subjects
INDIGENOUS
LIGHTING DEVICE
Historical Association
DECORATIVE ARTS
ETHNOGRAPHIC
FURNISHINGS
FINE ARTS
History
DONOR LYNN UIBEL SOLD THE PICTOGRAPH CHANDELIER TO THE GALT MUSEUM IN 2008. LYNN ACQUIRED THE CHANDELIER FROM P. WHETIK WHILE HE WAS WORKING AT THE PRINCE OF WALES HOTEL IN WATERTON IN THE 1950S. LYNN PASSED AWAY IN 2009. THE CHANDELIER WAS HUNG APPROXIMATELY 25 FEET HIGH, FROM A WIRE IN A VAULTED SECTION OF A CEILING. LYNN NEVER HAD THE ITEM CLEANED OR HAD ANY OF THE RIPS AND TEARS IN THE CHANDELIER FIXED, AS HE WAS AWARE OF ITS FRAGILITY AND DID NOT WANT TO RISK FURTHER DAMAGE TO THE ITEM. WHEN LYNN ACQUIRED THE ITEM, ONE OF THE PANELS WAS RIPPED. ROLAND RECALLED THAT WHEN LYNN TRIED TO HANG THE CHANDELIER, ANOTHER PANEL WAS DAMAGED. DURING THE 1950S, WHEN THE PRINCE OF WALES HOTEL WAS BEING RENOVATED, APPROXIMATELY 50 CHANDELIERS WERE BEING PACKED UP AND DISCARDED. LYNN THEN ACQUIRED A CHANDELIER ON THE BASIS THAT THEY WERE GOING TO BE DISCARDED. ACCORDING TO LYNN'S PARTNER, ROLAND BOYD, LYNN HAS STRONG CONNECTIONS TO THE HOTEL, HIS BROTHERS WORKED THERE AT SOME POINT, AND HE WAS BORN AND RAISED IN MOUNTAINVIEW, WHICH IS NOT FAR FROM THE HOTEL. ADDITIONALLY, HIS WORK AT THE PRINCE OF WALES HOTEL ENABLED HIM TO PAY FOR HIS UNIVERSITY EDUCATION. WHILE LYNN HAD NO NATIVE AMERICAN ANCESTRY, HE HELD A DEEP FASCINATION WITH NATIVE AMERICAN CULTURE, ESPECIALLY THAT OF SOUTHWEST AND PLAINS TRIBES. ROLAND RECALLED THAT ABOUT 90% OF THE ART IN THE HOME HE SHARED WITH LYNN WAS NATIVE AMERICAN. AS PART OF A UNIVERSITY THESIS, LYNN WROTE EXTENSIVELY ON AMERICAN PLAINS INDIANS AND THEIR CULTURE. LYNN NEVER LEARNED WHAT THE PICTOGRAPHS MEANT, OR WHO THE ARTIST WAS, OTHER THAN SOMEONE BELONGING TO THE BLACKFOOT CULTURE. IN AN E-MAIL CORRESPONDENCE IN AUGUST 2009, JAMES DEMPSEY SUGGESTED THAT THE PICTOGRAPH CHANDELIER WAS CREATED AFTER THE PICTOGRAPH FRIEZES AND PANELS. THE IMAGES APPEARING ON THE CHANDELIER ARE LIKELY TAKEN FROM THE FRIEZES AND PANELS, RATHER THAN TELLING THEIR OWN STORY OF A WAR OR HUNTING EXPLOIT. DEMPSEY WAS UNSURE OF WHO THE ARTIST(S) COULD HAVE BEEN. IN AN E-MAIL CORRESPONDENCE WITH GERRY CONATY, DIRECTOR / CURATOR OF THE GLENBOW MUSEUM, IN SEPT 2009, GERRY WAS ALSO UNSURE AS TO WHO THE ARTIST COULD HAVE BEEN. NEITHER JAMES NOR GERRY HAD COME ACROSS A PICTOGRAPH CHANDELIER SUCH AS THIS BEFORE. THE FOLLOWING INFORMATION WAS TAKEN FROM, “BLACKFOOT WAR ART: PICTOGRAPHS OF THE RESERVATION PERIOD, 1880-2000,” BY L. JAMES DEMPSEY, PUBLISHED BY THE UNIVERSITY OF OKLAHOMA PRESS, 2007. PICTOGRAPHS WERE COMMONLY USED BY BLACKFOOT (NATIONS) INDIANS FROM THE 1880'S AND THROUGHOUT THE 20TH CENTURY AS A MEANS OF RECORDING AND EXTOLLING WAR AND HUNTING EXPLOITS, EITHER OF INDIVIDUALS OR GROUPS. WAR EXPLOITS WERE HIGHLY RESPECTED AND REGARDED WITH MUCH PRESTIGE WITHIN BLACKFOOT CULTURE. BLACKFOOT ELDERS SPENT MUCH TIME DURING THE LONG AND DARK WINTER MONTHS RECOUNTING WAR AND HUNTING STORIES. HUNTING SCENES, HORSE RAIDS, THE STEALING OF WEAPONS AND OTHER GOODS, SUCH AS MEDICINE BUNDLES OR PIPES, AS WELL AS THE KILLING OF ENEMIES AND EXTRACTING REVENGE WERE ALL EVENTS THAT WERE REPRESENTED IN PICTOGRAPHS. PICTOGRAPHS WERE OFTEN DRAWN ONTO VARIOUS SURFACES, SUCH AS ANIMAL HIDES, PAPER, BLACKFOOT SHIRTS, TEPEES, ROCKS, EVEN HORSES. IMAGES WERE PAINTED, DRAWN, SCRATCHED OR BURNED ONTO THE MATERIAL. PIGMENT WAS OFTEN APPLIED USING A PENCIL-SIZED STICK. VARIOUS MATERIALS WERE USED, SUCH AS CRAYONS, INK, NATURAL PIGMENTS FROM 1913 TO 1930, PICTOGRAPHS CREATED BY BLACKFOOT ARTISTS WERE UTILIZED BY THE GREAT NORTHERN RAILWAYS AS A WAY TO PROMOTE "WESTERN" THEMES AND TOURISM IN THE MANY HOTELS IN ALBERTA AND MONTANA. COME THE 1920S, GREAT NORTHERN RAILWAY EXPANDED INTO CANADA, BUILDING THE PRINCE OF WALES HOTEL IN WATERTON NATIONAL PARKS. IN 1926, THE MISSIONARY CANON S. H. MIDDLETON SOUGHT BLACKFOOT PEOPLES WILLING TO RECOUNT WAR AND HUNTING EXPLOITS AND RECORD THESE STORIES USING PICTOGRAPHS. AS A RESULT, MANY PICTOGRAPH FRIEZES AND PANELS ADORNED THE WALLS OF THE PRINCE OF WALES HOTEL. IN HIS BOOK, DEMPSEY MENTIONS HOTELS BEING FURNISHED WITH LAMPSHADES THAT WERE ADORNED WITH PICTOGRAPHS (PG 274-78). FOR MORE INFORMATION, INCLUDING SOME PHOTOGRAPHS, SEE PAGES 114-127 IN, “GLACIER’S HISTORIC HOTELS AND CHALETS: VIEW WITH A ROOM,” BY RAY DJUFF AND CHRIS MORRISON, PUBLISHED BY FARCOUNTRY PRESS IN 2001. ALSO SEE PERMANENT RECORD WHICH INCLUDES A POSTCARD IMAGE FEATURING THE FIXTURE(S).
Catalogue Number
P20090004000
Acquisition Date
2008-12
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’ 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.” “THIS 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 NOTED, “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.” GLORIA BETTS NOTED, ON THE QUILT'S INVOLVEMENT IN THE "ALBERTA QUILT PROJECT", “[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.” 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.” 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’ 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. THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0284." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. 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’ 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.” 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’ 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’ 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.” 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’ 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.” 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' 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.” THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0286." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. 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’ 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’ 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
PAPER MESSAGE BASKET
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
PAPER, NYLON
Catalogue Number
P19970041002
  2 images  
Material Type
Artifact
Other Name
PAPER MESSAGE BASKET
Date Range From
1970
Date Range To
1980
Materials
PAPER, NYLON
No. Pieces
1
Length
30.4
Width
18.9
Description
PINK PAPER BASKET IS FLAT CARDBOARD BACK WITH CROSS-WOVEN POUCH FASTENED TO BOTTOM HALF. BASKET HAS FADED RED RIBBON TIED THROUGH TWO HOLES AT TOP. TWO RED BIRD-LIKE FIGURES ARE GLUED TO BACK AS DECORATION, ONE LARGE & ONE SMALL. PAPER IS SLIGHTLY WORN AND FADED.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
FURNISHINGS
DECORATIVE ARTS
History
PAPER BASKET WAS LIKELY GIVEN AS A GIFT TO THE REVEREND CANON G.G. NAKAYAMA, (DONOR'S FATHER). REV. NAKAYAMA AND HIS FAMILY MOVED TO COALDALE IN 1945 AFTER RELOCATION FROM VANCOUVER IN 1942 TO SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA. AT COALDALE HE 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
P19970041002
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1990
Material Type
Artifact
Materials
STEEL, ALUMINUM
Catalogue Number
P19990061026
Material Type
Artifact
Date Range From
1970
Date Range To
1990
Materials
STEEL, ALUMINUM
No. Pieces
1
Height
27.5
Length
27.2
Width
11.6
Description
BLACK PAINTED, STEEL. HAS A FLAT, RECTANGULAR BASE. A METAL LABEL ON BASE, TOWARDS THE FRONT, READS "MADE IN U.S.A.", AND HAS A RED OUTLINE. A BLACK AND SILVER, METAL LABEL ON BASE, TOWARDS BACK, READS "SINCE 1887 CUMMINS MODEL 15 SERIAL 7539 CUMMINS PERFORATOR COMPANY CHICAGO". BACK OF PERFORATOR EXTENDS UP FROM BASE AND BENDS IN AN ARCH TOWARDS THE FRONT. TOWARDS THE FRONT, THIS ARCH EXTENDS DOWNWARD INTO A RECTANGULAR SHAPE. ON TOP IS A LARGE SLIGHTLY CURVED HANDLE - HANDLE CAN BE PUSHED DOWN. ON FRONT END OF PERFORATOR IS A STEEL DRAWER WITH A CIRCULAR HANDLE.
Subjects
PRINTING T&E
DATA PROCESSING T&E
Historical Association
BUSINESS
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
P19990061026
Acquisition Date
1999-10
Collection
Museum
Less detail
Material Type
Artifact
Materials
GLASS, STEEL, BRASS
Catalogue Number
P19950073041
Material Type
Artifact
Date
1926
Materials
GLASS, STEEL, BRASS
No. Pieces
2
Height
29
Length
10
Width
10
Description
WHITE SEMI-OPAQUE GLASS BASE MOUNTED WITH STEEL PEDESTAL WHICH HOLDS BRASS SOCKET. PULL-CHAIN EXTENDING FROM ONE SIDE. SOCKET ENGRAVED WITH "60W 250V.". "ALDING PAT MAY 25 '26" AND "RESS". CYLINDRICAL GLASS SHADE FITS OVER SOCKET, WITH FLUTED SIDES AND EMBOSSED DOT AND DIAMOND PATTERN. REMNANTS OF BLACK PAINT ON EMBOSSED PORTIONS. TIP OF SHADE HAS ORNAMENTAL CHROME KNOB. WHITE CLOTH-BOUND ELECTRICAL CORD, WITH BLACK PLUG. FRAYED SLIGHTLY IN PLACES.
Subjects
LIGHTING DEVICE
Historical Association
FURNISHINGS
History
ART DECO INFLUENCE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED AS PART OF THE ING ESTATE (P19950073023). SHE EXTRACTED THE FOLLOWING INFORMATION ON THE ING FAMILY FROM PERMANENT FILE P19950073001, WHICH CONTAINS A TRANSCRIPT OF THE INTERVIEW COLLECTIONS TECH KEVIN MACLEAN CONDUCTED WITH HAROLD ING JR., SON OF HAROLD AND MYRA, IN HIS ROOM AT THE LETHBRIDGE HOTEL IN SEPTEMBER 2005. MYRA WAS BORN IN GOLDEN B.C. TO SHIN-BOW AND CHOW TING RAH; HER FATHER ORGINALLY EMIGRATED TO CANADA TO WORK ON CANADIAN RAILWAY CONSTRUCTION AND LATER BECAME A RESTAURANTEUR, WHERE MYRA DEVELOPED HER ENGLISH SKILLS AS A WAITRESS. "IN 1906 MY DAD [HAROLD ING SR.] LEFT HONG KONG FOR VANCOUVER, HE COULDN'T SPEAK ENGLISH... HE'S GOT TO BE A WAITER, A BUSBOY... AND HE LEARNED ALL THE WAY UP, IN THE MEANTIME PICKING UP ENGLISH... WENT TO WINNIPEG. THIS IS BEFORE ME. BY THEN HE KNEW THE WHOLE SYSTEM OF RESTAURANTING." MYRA AND HAROLD SR. MARRIED AND ADOPTED HAROLD JR. WHEN HE WAS BORN INTO A POOR FAMILY OF ELEVEN IN 1944, IN VANCOUVER. "ME AND MY TWIN SISTER WERE SOLD BECAUSE THERE WERE JUST TOO MANY. SO DAD, MY MOM PICKED ME AND DAD SAID YES THAT'S GOOD... I DON'T KNOW WHERE MY SISTER IS... THERE'S NO WAY OF FINDING OUT." THE ING FAMILY SETTLED IN LETHBRIDGE IN THE LATE 1940S, AND HAROLD SR. OWNS AND OPERATES THE NEW MOON CAFE AND TWO GROCERIES, WHICH ARE RUN BY THE FAMILY AND NEW CHINESE IMMIGRANTS THAT HAROLD SR. SPONSORED. "AT APPROXIMATELY FIVE YEARS OLD [MY FATHER] INTRODUCED ME TO THE NEW MOON CAFE, AND I WAS A BUSBOY AT THE AGE OF FIVE... IN 1951 HE SHOWED ME MY FIRST HUNDRED DOLLAR BILL... BECAUSE HE WAS THE OWNER... HE'D WAKE UP AT FIVE IN THE MORNING TO GO TO THE CAFE, OFF AND ON TO THE GROCERY STORE AND MIGHT BE DONE AT EIGHT AT NIGHT, SUPPER AND IMMEDIATELY TO CHINATOWN [FOR] GAMBLING, PUTTING DOWN MAH JONG." HAROLD JR. ATTENDED WESTMINISTER ELEMENTARY SCHOOL DURING THE DAY, AND CHINESE SCHOOL AT THE CHINESE NATIONAL LEAGUE IN THE EVENINGS - HIS FATHER WAS THE PRESIDENT OF THE NATIONAL LEAGUE, AND THE ORGANIZATION RAN THE SCHOOL, CULTURAL CELEBRATIONS, FILM SCREENINGS, AND BANQUETS, FUNDED BY MEMBERSHIP FEES. HAROLD'S YOUNGER BROTHER, CALVIN, "GOT SENT TO A BOARDING SCHOOL SOMEWHERE. HE WAS GIFTED, BUT HE HAD A BYPASS SURGERY, HE HAD SOMETHING WRONG WITH HIS HEART. HE COULDN'T HANDLE PUBLIC SCHOOL, SO THEY SENT HIM TO B.C." AFTER HIGH SCHOOL AND A BRIEF STINT IN CALGARY, HAROLD JR. RAN ING'S GROCERY FOR HIS FATHER, AND IN THE LATE 1960S AND EARLY 70S ALSO WORKED AS A PHOTOGRAPHER FOR THE LETHBRIDGE HERALD AND A SALESMAN AT SEARS. BOTH HAROLD SR. AND MYRA ING PASSED AWAY IN THE 1990S, AND THE OBJECTS ENCOMPASSING DONATION P19950073001-231 WERE COLLECTED FROM THE FAMILY HOME. FOR A COMPLETE TRANSCRIPT OF THE INTERVIEW, COPIES OF PHOTOGRAPHS AND WRITTEN DETAILS ON THE CHINESE NATIONAL LEAGUE, SEE PERMANENT FILE.
Catalogue Number
P19950073041
Acquisition Date
1995-11
Collection
Museum
Less detail
Other Name
FINGERPRINT KEYSEARCH KEY
Date Range From
1984
Date Range To
1990
Material Type
Artifact
Materials
STEEL, CHROME, PLASTIC
Catalogue Number
P19960112026
Material Type
Artifact
Other Name
FINGERPRINT KEYSEARCH KEY
Date Range From
1984
Date Range To
1990
Materials
STEEL, CHROME, PLASTIC
No. Pieces
2
Height
2.51
Length
30.8
Width
4.0
Description
2 IDENTICAL KEYS, CONSISTING OF THREE PIECES EACH. TEAL BLUE PLASTIC HANDLE WITH STEEL PIN/SHAFT. PIN IS THREADED THROUGH LENGTH OF HANDLE, WITH CHROME KNOB AT END FOR TIGHTENING IT IN PLACE. HANDLE IS TAPERED TOWARD PIN, WITH SLIGHT FLARE AT NECK.
Subjects
DATA PROCESSING T&E
Historical Association
SAFETY SERVICES
History
PART OF KEY/PUNCH FINGERPRINT SYSTEM; USED WITH ITEMS P19960112025,27-GA. FINGERPRINT CHARACTERISTICS WERE IDENTIFIED ON CARD BY PUNCHING TAB IN CODED BOXES AROUND CARD EDGE. KEY WAS SLOTTED THROUGH STACK OF CARDS, WHICH WAS SHAKEN OUT TO IDENTIFY MATCHING CHARACTERISTICS AMONG CARDS, WHICH COULD THEN BE FURTHER NARROWED BY REPEATING PROCESS. USED BY LETHBRIDGE POLICE BEGINNING IN 1984. HOLES PUNCHED ON THE EDGE OF THE CARDS IDENTIFIED THE MAIN FEATURES OF EACH PRINT. BY INSERTING THE RODS THROUGH STACKS OF CARDS AND SHAKING THE PILE, INVESTIGATORS ELIMINATED PRINTS UNTIL A MATCHING CLASSIFICATION WAS FOUND. RESULTS WERE THEN CONFIRMED BY A FINGERPRINT TECHNICIAN. NO TWO FINGERPRINTS HAVE EVER BEEN FOUND TO BE IDENTICAL IN EVERY DETAIL. FINGERPRINT EVIDENCE IS THEREFORE "THE MOST COMMON, MOST SOUGHT AFTER, POSITIVE AND VALUABLE OF ALL TYPES OF EVIDENCE ENCOUNTERED IN CRIMINAL INVESTIGATIONS" ACCORDING TO IDENT OFFICER GLEN MICHELSON. THE CARD SYSTEM WAS REPLACED BY THE AUTOMATIC FINGER IDENTIFICATION SYSTEM (AFIS), WHICH OFFERS LOCAL INVESTIGATORS ACCESS TO A COMPUTERIZED DATABASE IN CALGARY. FOR MORE INFORMATION ON MICHELSON'S IDENT CAREER, SEE P19960112027. *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
P19960112026
Acquisition Date
1996-12
Collection
Museum
Less detail
Other Name
FINGERPRINT KEYSEARCH PUNCH
Date Range From
1984
Date Range To
1990
Material Type
Artifact
Materials
STEEL, NICKEL
Catalogue Number
P19960112025
Material Type
Artifact
Other Name
FINGERPRINT KEYSEARCH PUNCH
Date Range From
1984
Date Range To
1990
Materials
STEEL, NICKEL
No. Pieces
1
Height
1.21
Length
14
Width
8.2
Description
STEEL AND CHROME HAND-HELD SINGLE HOLE PUNCH. SPRING-OPERATED HANDLE; ALSO BLUE PLASTIC SPRING-OPERATED TAB AT HEAD OF PUNCH TO CATCH PAPER BITS. INSIDE ARM OF HANDLE HAS IN RELIEF "MCBEE MADE IN USA". CUTS TAB-SHAPED, NOT ROUND, HOLES.
Subjects
DATA PROCESSING T&E
Historical Association
SAFETY SERVICES
History
PART OF KEY/PUNCH FINGERPRINT SYSTEM; USED WITH ITEMS P19960112026, 27-GA. FINGERPRINT CHARACTERISTICS WERE IDENTIFIED ON CARD BY PUNCHING TAB IN CODED BOXES AROUND CARD EDGE. KEY WAS SLOTTED THROUGH STACK OF CARDS, WHICH WAS SHAKEN OUT TO IDENTIFY MATCHING CHARACTERISTICS AMONG CARDS, WHICH COULD THEN BE FURTHER NARROWED BY REPEATING PROCESS. USED BY LETHBRIDGE POLICE BEGINNING IN 1984. HOLES PUNCHED ON THE EDGE OF THE CARDS IDENTIFIED THE MAIN FEATURES OF EACH PRINT. BY INSERTING THE RODS THROUGH STACKS OF CARDS AND SHAKING THE PILE, INVESTIGATORS ELIMINATED PRINTS UNTIL A MATCHING CLASSIFICATION WAS FOUND. RESULTS WERE THEN CONFIRMED BY A FINGERPRINT TECHNICIAN. NO TWO FINGERPRINTS HAVE EVER BEEN FOUND TO BE IDENTICAL IN EVERY DETAIL. FINGERPRINT EVIDENCE IS THEREFORE "THE MOST COMMON, MOST SOUGHT AFTER, POSITIVE AND VALUABLE OF ALL TYPES OF EVIDENCE ENCOUNTERED IN CRIMINAL INVESTIGATIONS" ACCORDING TO FORMER IDENT OFFICER GLEN MICHELSON. THE CARD SYSTEM WAS REPLACED BY THE AUTOMATIC FINGER IDENTIFICATION SYSTEM (AFIS), WHICH OFFERS LOCAL INVESTIGATORS ACCESS TO A COMPUTERIZED DATABASE IN CALGARY. FOR MORE INFORMATION ON MICHELSON'S IDENT CAREER, SEE P19960112027. *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
P19960112025
Acquisition Date
1996-12
Collection
Museum
Less detail
Other Name
FINGERPRINT KEYSEARCH CARDS
Date Range From
1984
Date Range To
1990
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19960112027
Material Type
Artifact
Other Name
FINGERPRINT KEYSEARCH CARDS
Date Range From
1984
Date Range To
1990
Materials
PAPER
No. Pieces
4
Length
20.6
Width
13
Description
FOUR CREAM-COLORED PAPER CARDS WITH BLUE TRIM, AND "LETHBRIDGE CITY POLICE FORCE KEYSEARCH LATENT FINGERPRINT FORM 1" PRINTED AT TOP. HOLES PERFORATED AROUND EDGES, ENCODED WITH VARIOUS FINGERPRINT CHARACTERISTICS. DETAILS: .1 FINGERPRINTS OF "TOPE BYRON DAVID"; DATED "85/05/29". REVERSE BLANK. .2 FINGERPRINTS OF "LABRECQUE, KENNETH WADE", PRINTED ON WHITE SHEETS ADHERE TO CARD. DATED "85-3-8". .3 PHOTO OF FINGERPRINTS FOUND ON OBJECT; TAPED TO CARD. PRINT IS CIRCLED IN PHOTO, AND SCALED BY RULED STICKER JUST ABOVE. NAME IDENTIFIED AS "CSIZMADIA"; DATED "85/4/9". REVERSE HAS HANDWRITTEN "KEYSEARCHED 85/4/10 85/4/19". .4 PHOTO OF FINGERPRINTS FOUND ON OJBECT; TAPED TO CARD. RULED STICKER ABOVE PRINT WITH "MOTOWN TOYOTA". "1984 - OTTAWA SUBMISSION - NEG." AT BOTTOM. DATED "84-6-24". REVERSE HAS SECOND PHOTO OF PRINTS FOUND ON OBJECT.
Subjects
DATA PROCESSING T&E
Historical Association
SAFETY SERVICES
History
PART OF KEY/PUNCH FINGERPRINT SYSTEM; USED WITH ITEMS P19960112025,26-GA TO COMPARE A PARTIAL FINGERPRINT FOUND AT A CRIME SCENE WITH AN ORIGINAL SET OF PRINTS PROVIDED BY THE ACCUSED. FINGERPRINT CHARACTERISTICS WERE IDENTIFIED ON CARD BY PUNCHING TAB IN CODED BOXES AROUND CARD EDGE. KEY WAS SLOTTED THROUGH STACK OF CARDS, WHICH WAS SHAKEN OUT TO IDENTIFY MATCHING CHARACTERISTICS AMONG CARDS, WHICH COULD THEN BE FURTHER NARROWED BY REPEATING PROCESS. USED BY LETHBRIDGE POLICE BEGINNING IN 1984. HOLES PUNCHED ON THE EDGE OF THE CARDS IDENTIFIED THE MAIN FEATURES OF EACH PRINT. BY INSERTING THE RODS THROUGH STACKS OF CARDS AND SHAKING THE PILE, INVESTIGATORS ELIMINATED PRINTS UNTIL A MATCHING CLASSIFICATION WAS FOUND. RESULTS WERE THEN CONFIRMED BY A FINGERPRINT TECHNICIAN. NO TWO FINGERPRINTS HAVE EVER BEEN FOUND TO BE IDENTICAL IN EVERY DETAIL. FINGERPRINT EVIDENCE IS THEREFORE "THE MOST COMMON, MOST SOUGHT AFTER, POSITIVE AND VALUABLE OF ALL TYPES OF EVIDENCE ENCOUNTERED IN CRIMINAL INVESTIGATIONS" ACCORDING TO IDENT OFFICER GLEN MICHELSON. THE CARD SYSTEM WAS REPLACED BY THE AUTOMATIC FINGER IDENTIFICATION SYSTEM (AFIS), WHICH OFFERS LOCAL INVESTIGATORS ACCESS TO A COMPUTERIZED DATABASE IN CALGARY. IT IS CLAIMED THAT THE CARDS WERE "SIGNED BY MEMBERS SUCH AS CST. TERRY TOWNSEND AND GORD SCHEURMAN". FOR MORE INFORMATION ON MICHELSON'S IDENT CAREER, SEE ARTIFACT'S PERMANENT FILE. *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
P19960112027
Acquisition Date
1996-12
Collection
Museum
Less detail
Date Range From
1950
Date Range To
2007
Material Type
Artifact
Materials
IRON
Catalogue Number
P20070023006
Material Type
Artifact
Date Range From
1950
Date Range To
2007
Materials
IRON
No. Pieces
1
Height
27.7
Length
25.0
Width
13.8
Description
GREY-GREEN ELECTRICAL WALL SCONCE. TWO CANDLE-LIKE STRUCTURES EXTEND FROM EITHER SIDE OF SCONCE, BASE OF CANDLES RESEMBLE FLOWERS. BACK OF SCONE REDDISH BROWN WITH RUST SPOTS THROUGHOUTS. RAISED TEXT READS, "32148...MOF-BRIDGES, MILWAUKEE WIS." YELLOW ELECTRICAL CORDS VISIBLE FROM BACK. SMALL DECORATIVE BOLT TAPED TO FRONT SURFACE OF SCONCE.
Subjects
LIGHTING DEVICE
Historical Association
FURNISHINGS
History
THIS SCONCE WAS REMOVED FROM THE STAIRWELL WALL LEADING UP TO THE PROJECTIONIST AREA OF PARAMOUNT THEATRE AFTER ITS CLOSURE IN 2007. ACCORDING TO JOEY SHACKLEFORD, GRANDSON OF A. W. SHACKLEFORD, SCONCES SUCH AS THIS LINED THE BACK WALL AND SIDES OF THE PARAMOUNT THEATRE. THEY WERE A DECORATIVE AND SAFETY FEATURE- LOW-LEVEL LIGHT WAS EMITTED BY THEM. SHACKLEFORD SAID, "IT GOT DARK (WITHOUT THE LIGHTS) - YOU COULDN'T SEE YOUR HAND IN FRONT OF YOUR FACE. I WAS SCARED AS A KID." 10-15 WATT BULBS KEPT IT JUST LIGHT ENOUGH. LATER ON, FLOOR LIGHTING WAS ADDED. FOR MORE INFORMATION, SEE P20070023001 AND PERMANENT RECORD. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING A PORTRAIT OF ALFRED WILLIAM SHACKLEFORD (P20060025001-GA), OWNER OF THE SHACKLEFORD THEATRES. THE FOLLOWING BIOGRAPHY OF MAYOR SHACKLEFORD WAS DEVELOPED WITH INFORMATION FROM ARCHIVES CANADA ONLINE AND A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM MAY 31, 1992. A.W. SHACKLEFORD WAS BORN IN ESSEX, ENGLAND IN 1899 AND CAME TO CALGARY WITH HIS PARENTS IN 1909. AFTER HIGH SCHOOL HE TRAINED AS A DRAFTSMAN BUT WAS EMPLOYED BY THE FILM EXCHANGE AND FOX FILMS. IN 1921 HE WAS HIRED TO MANAGED THE KING'S THEATRE IN LETHBRIDGE AND BECAME ASSOCIATED WITH MARK ROGERS, A LETHBRIDGE BUSINESSMAN WHO OWNED THREE LOCAL MOVIE THEATRES. SHACKLEFORD ALSO BECAME PARTNER IN THE AMUSEMENT COMPANY THAT OPENED THE HENDERSON LAKE PAVILLION IN 1924. BY 1925 HE WAS PART-OWNER OF THE FORMER EMPRESS THEATRE ON 5TH AVENUE SOUTH, RENAMING IT THE ROXY. HE THEN TEAMED UP WITH THE FAMOUS PLAYERS COMPANY TO REMODEL THE FORMER PALACE THEATRE AND RENAME IT THE CAPITOL. SHACKLEFORD ALSO OPENED THE THEATRE IN THE FORMER COLLEGE MALL, BUILT THE 960-SEAT PARAMOUNT THEATRE ON 4TH AVENUE SOUTH, AND TOOK OVER OPERATION OF THE DIRVE-IN THEATRE AT THE SOUTH CITY LIMITS. SHACKLEFORD WAS HEAVILY INVOLVED IN CIVIC LIFE, ACTIVE IN GROUPS INCLUDING THE CANADIAN CANCER SOCIETY, THE GYRO CLUB, UNITED WAY, LETHBRIDGE & DISTRICT EXHIBITION BOARD, BOARD OF TRADE, ST. AUGUSTINE'S CHURCH, AND THE ALBERTA THEATRE OPERATORS ASSOCIATION. HE AND HIS WIFE ADA HAD TWO SONS, ROBERT AND DOUGLAS. AFTER SEVERAL TERMS AS ALDERMAN STARTING IN 1939, SHACKLEFORD FIRST SERVED AS MAYOR FROM 1944 - 1947, AND FOR TWO MORE TERMS FROM 1952 - 1955 AND 1957 - 1961. HE WORKED FOR 68 YEARS IN THE MOVIE BUSINESS, RETIRING AT AGE 90. W.A. SHACKLEFORD DIED IN LETHBRIDGE ON MAY 30, 1992. SEE PERMANENT FILE P20060025001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P20070023006
Acquisition Date
2008-08
Collection
Museum
Less detail
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOD, IRON, BRASS
Catalogue Number
P19950073070
Material Type
Artifact
Date Range From
1900
Date Range To
1910
Materials
WOOD, IRON, BRASS
No. Pieces
4
Height
75
Length
62.8
Width
52.5
Description
1. DESK: RECTANGULAR WOOD BOX WITH SLOPED TOP MOUNTED UPON CAST IRON LEGS. SLOPED TOP OF DESK HAS LID THAT OPENS ON BRASS HINGES. BACK PORTION OF TOP IS FLAT AND HAS 1.2CM GROOVE ACROSS ITS LENGTH AND AT RIGHT END IS 5CM HOLE FOR INK WELL. ON INSIDE OF FRONT IS WOODEN PENCIL TROUGH, ALSO WITH GROOVE. OUTSIDE OF DESK HAS BEEN PAINTED YELLOW WHICH IS WEARING AND CHIPPED BADLY WITH MANY BALD SPOTS AND SCRATCHES. "DODD" IS SCRATCHED INTO DESK FACE. CAST IRON LEGS ARE MADE UP OF TWO LENGTHS OF IRON WHICH SLIDE TOGETHER AND ARE HELD WITH A LARGE SQUARE NUT TO ADJUST FOR SIZE. BOTTOMS HAVE ROUNDED FEET WITH HOLES PUNCHED IN THEM FOR BOLTING DESK DOWN. RAISED ON SIDE OF LEGS IS "B" AND AT TOP IS "J. SMART MFG. CO. LTD. BROOKVILLE". LEGS ARE PAINTED BLACK AND ALSO HAVE A NUMBER OF YELLOW PAINT SMEARS AND SPLATTERS. INSIDE OF DESK HAS LARGE AREAS OF INK STAIN IN BLUE, BLACK AND PURPLE. 2. DESK: IDENTICAL TO (1.) EXCEPT "AH" AND THE PROFILE OF A WOMAN'S HEAD HAVE BEEN SCRATCHED INTO TOP. ALSO HAS "FRAZER ROSS" WRITTEN ON INSIDE FRONT PANEL 3. CHAIR: 78.7CM (H) X 44.5CM (W) X 35.8CM (L) WOOD CHAIRS WITH CAST IRON STOOL BASE. BASE HAS ROUND BOTTOM (25.4CM) WHICH CURVES UP NARROWING TO 8CM. BASE HAS 6 HOLES PUNCHED AROUND EDGE FOR FASTENING CHAIR TO FLOOR. SECOND CAST IRON FRAME SLIDES INTO BASE AND IS FASTENED TIGHT WITH SQUARE NUT. THIS FRAME IS BOLTED TO BOTTOM OF WOOD CHAIR SEAT. CHAIR IS MADE UP OF SEAT WITH WIDE ROUNDED FRONT AND WOOD BACK WHICH HAS WIDE ROUNDED TOP AND NARROWS AS IT GOES DOWN TOWARDS SEAT. MOUNTED DIAGONALLY AT SIDES ARE STEEL BRACKETS WHICH REINFORCE BACK AND SEAT. CAST IRON BASE IS PAINTED BLACK AND WOOD CHAIR IS PAINTED YELLOW. PAINT ON CHAIR IS BADLY WORN, CHIPPED AND SCRATCHED. 4. CHAIR; IDENTICAL TO (3.) EXCEPT STOOL HAS TWO LARGE CHIPS BROKEN FROM BASE AND STOOL IS RUSTED.
Subjects
FURNITURE
Historical Association
EDUCATION
FURNISHINGS
History
NARRATIVE BELOW TAKEN FROM "CHINESE SCHOOLS IN LETHBRIDGE" ARTICLE, WRITTEN BY COLLECTIONS ASSISTANT AIMEE BENOIT (NEE VIEL), FOR LETHBRIDGE LIVING MAGAZINE, FALL 1997 ISSUE. FOR MORE INSIGHTS INTO LETHBRIDGE'S CHINESE SCHOOLS, PLEASE REFERENCE THIS ARTIFACT'S PERMANENT FILE AND THE DONATION'S THIRTY-SEVEN SCHOOL RELATED TEXT AND WORKBOOKS. EDUCATION HAS ALWAYS PLAYED A CENTRAL ROLE IN THE SOCIAL LIFE OF LETHBRIDGE. IN ADDITION TO THE MANY PUBLIC SCHOOLS IN OPERATION, SEVERAL PRIVATE SCHOOLS HAVE BEEN ESTABLISHED OVER THE YEARS TO SERVE DIFFERENT FUNCTIONS WITHIN THE COMMUNITY. DURING THE 1950S AND 1960S, LETHBRIDGE HAD TWO CHINESE LANGUAGE SCHOOLS: THE CHINESE NATIONAL LEAGUE ASSOCIATION SCHOOL, AND THE CHINESE COMMUNITY SCHOOL. LOCATED ACROSS THE STREET FROM EACH OTHER IN CHINATOWN (2ND AVE. AND 3-4ST. S.), BOTH SCHOOLS OPERATED UNDER THE DIRECTION OF SEPARATE INTERNATIONAL POLITICAL ORGANIZATIONS, THE KUOMINTANG OR CHINESE NATIONAL LEAGUE, AND THE CHINESE FREEMASONS RESPECTIVELY. YET, RIVALS AT TIMES, THE SCHOOLS WERE UNIFIED IN THEIR MAIN OBJECTIVES. BOTH HOPED TO PERPETUATE CHINESE TRADITIONS AND LANGUAGE IN SOUTHERN ALBERTA. THEY ALSO SOUGHT TO PROVIDE A BRIDGE FOR NEW IMMIGRANTS BETWEEN THE CUSTOMS OF THEIR HOMELAND AND THOSE OF WESTERN SOCIETY. CLASSES IN BOTH SCHOOLS WERE HELD TWO HOURS DAILY, FROM MONDAY TO SATURDAY. IN ADDITION, STUDENTS ATTENDED REGULAR ENGLISH PUBLIC SCHOOL. CHILDREN LEARNED TO READ AND WRITE IN CANTONESE, AND HAD SOME INSTRUCTION IN MUSIC, DANCING, AND CALLIGRAPHY AS WELL. ALTHOUGH SOME TEACHERS WERE PAID, MOST VOLUNTEERED THEIR TIME, TEACHING ANYWHERE FROM TEN TO TWENTY STUDENTS. BY THE LATE 1960S, THE TWO SCHOOLS HAD FOUND IT DIFFICULT TO MAINTAIN INTEREST IN TRADITIONAL CHINESE CULTURE, ESPECIALLY AMONG THE YOUNGER GENERATIONS BORN AND RAISED IN CANADA. AS A RESULT OF INCREASING “WESTERNIZATION” AND DECLINING ATTENDANCE, BOTH CHINESE LANGUAGE SCHOOLS WERE FORCED TO CLOSE THEIR DOORS. *** *UPDATE* NICOLE HEMBROFF, COLLECTIONS ASSISTANT, COUNDUCTED A SURVEY OF PALLET RACKING IN 2010. SHE INTERVIEWED HAROLD ING (CALVIN ING'S BROTHER) WITH REGARD TO THE SCHOOL DESKS. SEE BELOW. ACCORDING TO HAROLD ING, HIS FATHER, HAROLD SR. WAS THE PRESIDENT OF THE CHINESE NATIONAL LEAGUE. HE SUSPECTED HIS FATHER HAD ACQUIRED THE DESKS. ACCORDING TO HAROLD ING, HE STARTED CHINESE SCHOOL AT 4 YEARS OLD (IN 1950). HE ATTENDED CHINESE SCHOOL AFTER HE FINISHED HIS DAY AT WESTMINSTER ELEMENTARY. HE WENT TO CHINESE SCHOOL 5 OR 6 DAYS A WEEK. ING STOPPED GOING TO CHINESE SCHOOL WHEN HE WENT TO JR. HIGH. ING SAID THE SCHOOL WAS LOCATED IN THE CHINESE NATIONAL LEAGUE. THERE WERE ABOUT 8-16 STUDENTS. ALL OF THEM LEARNED TOGETHER - THEY WEREN'T SEPARATED INTO DIFFERENT GRADES (I.E. 1 THROUGH 12). IN ADDITION, THE STUDENTS WERE NOT EVALUATED ON THEIR WORK. IN SCHOOL ING LEARNED TO READ AND WRITE CHINESE/CANTONESE. HE WAS TAUGHT BE THE COOK FROM THE ALEXANDER RESTAURANT AND THE DAUGHTER OF THE GENTLEMAN WHO BOUGHT THE LOTUS INN. THE SCHOOL EVENTUALLY SHUT DOWN DUE TO A LACK OF TEACHERS, WESTERNIZATION AND LOW ENROLLMENT. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED AS PART OF THE ING ESTATE (P19950073023). SHE EXTRACTED THE FOLLOWING INFORMATION ON THE ING FAMILY FROM PERMANENT FILE P19950073001, WHICH CONTAINS A TRANSCRIPT OF THE INTERVIEW COLLECTIONS TECH KEVIN MACLEAN CONDUCTED WITH HAROLD ING JR., SON OF HAROLD AND MYRA, IN HIS ROOM AT THE LETHBRIDGE HOTEL IN SEPTEMBER 2005. MYRA WAS BORN IN GOLDEN B.C. TO SHIN-BOW AND CHOW TING RAH; HER FATHER ORGINALLY EMIGRATED TO CANADA TO WORK ON CANADIAN RAILWAY CONSTRUCTION AND LATER BECAME A RESTAURANTEUR, WHERE MYRA DEVELOPED HER ENGLISH SKILLS AS A WAITRESS. "IN 1906 MY DAD [HAROLD ING SR.] LEFT HONG KONG FOR VANCOUVER, HE COULDN'T SPEAK ENGLISH... HE'S GOT TO BE A WAITER, A BUSBOY... AND HE LEARNED ALL THE WAY UP, IN THE MEANTIME PICKING UP ENGLISH... WENT TO WINNIPEG. THIS IS BEFORE ME. BY THEN HE KNEW THE WHOLE SYSTEM OF RESTAURANTING." MYRA AND HAROLD SR. MARRIED AND ADOPTED HAROLD JR. WHEN HE WAS BORN INTO A POOR FAMILY OF ELEVEN IN 1944, IN VANCOUVER. "ME AND MY TWIN SISTER WERE SOLD BECAUSE THERE WERE JUST TOO MANY. SO DAD, MY MOM PICKED ME AND DAD SAID YES THAT'S GOOD... I DON'T KNOW WHERE MY SISTER IS... THERE'S NO WAY OF FINDING OUT." THE ING FAMILY SETTLED IN LETHBRIDGE IN THE LATE 1940S, AND HAROLD SR. OWNS AND OPERATES THE NEW MOON CAFE AND TWO GROCERIES, WHICH ARE RUN BY THE FAMILY AND NEW CHINESE IMMIGRANTS THAT HAROLD SR. SPONSORED. "AT APPROXIMATELY FIVE YEARS OLD [MY FATHER] INTRODUCED ME TO THE NEW MOON CAFE, AND I WAS A BUSBOY AT THE AGE OF FIVE... IN 1951 HE SHOWED ME MY FIRST HUNDRED DOLLAR BILL... BECAUSE HE WAS THE OWNER... HE'D WAKE UP AT FIVE IN THE MORNING TO GO TO THE CAFE, OFF AND ON TO THE GROCERY STORE AND MIGHT BE DONE AT EIGHT AT NIGHT, SUPPER AND IMMEDIATELY TO CHINATOWN [FOR] GAMBLING, PUTTING DOWN MAH JONG." HAROLD JR. ATTENDED WESTMINISTER ELEMENTARY SCHOOL DURING THE DAY, AND CHINESE SCHOOL AT THE CHINESE NATIONAL LEAGUE IN THE EVENINGS - HIS FATHER WAS THE PRESIDENT OF THE NATIONAL LEAGUE, AND THE ORGANIZATION RAN THE SCHOOL, CULTURAL CELEBRATIONS, FILM SCREENINGS, AND BANQUETS, FUNDED BY MEMBERSHIP FEES. HAROLD'S YOUNGER BROTHER, CALVIN, "GOT SENT TO A BOARDING SCHOOL SOMEWHERE. HE WAS GIFTED, BUT HE HAD A BYPASS SURGERY, HE HAD SOMETHING WRONG WITH HIS HEART. HE COULDN'T HANDLE PUBLIC SCHOOL, SO THEY SENT HIM TO B.C." AFTER HIGH SCHOOL AND A BRIEF STINT IN CALGARY, HAROLD JR. RAN ING'S GROCERY FOR HIS FATHER, AND IN THE LATE 1960S AND EARLY 70S ALSO WORKED AS A PHOTOGRAPHER FOR THE LETHBRIDGE HERALD AND A SALESMAN AT SEARS. BOTH HAROLD SR. AND MYRA ING PASSED AWAY IN THE 1990S, AND THE OBJECTS ENCOMPASSING DONATION P19950073001-231 WERE COLLECTED FROM THE FAMILY HOME. FOR A COMPLETE TRANSCRIPT OF THE INTERVIEW, COPIES OF PHOTOGRAPHS AND WRITTEN DETAILS ON THE CHINESE NATIONAL LEAGUE, SEE PERMANENT FILE.
Catalogue Number
P19950073070
Acquisition Date
1995-11
Collection
Museum
Less detail

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