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Other Name
EMBROIDERY RING
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
WOOD, TIN
Catalogue Number
P19990059016
Material Type
Artifact
Other Name
EMBROIDERY RING
Date Range From
1950
Date Range To
1970
Materials
WOOD, TIN
No. Pieces
2
Height
1.1
Length
14.0
Width
13.4
Description
TWO WOODEN RINGS, ONE FITS INSIDE THE OTHER. THEY ARE NATURAL WOOD COLOUR. ON THE OUTSIDE OF THE OUTER RING THERE IS A FLAT PIECE OF METAL. THE METAL HAS BEEN RIVETED TO THE WOOD, TWICE ON EACH END, AND IS CURVED UPWARDS NEAR THE CENTRE. UNDERNEATH THIS PIECE OF METAL THE RING IS CUT ON A DIAGONAL. STAMPED ON OUTER RING IS "PRINCESS PAT'D. ADJUSTABLE RING".
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
History
SEE P19990059001-GA FOR DONOR HISTORY.
Catalogue Number
P19990059016
Acquisition Date
1999-11
Collection
Museum
Less detail
Other Name
EMBROIDERY RING
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
STEEL, THREAD
Catalogue Number
P19990059017
Material Type
Artifact
Other Name
EMBROIDERY RING
Date Range From
1950
Date Range To
1970
Materials
STEEL, THREAD
No. Pieces
4
Height
1.4
Length
16.6
Width
15.6
Description
TWO METAL RINGS, ONE FITS INSIDE THE OTHER. THE INNER RING IS WRAPPED WITH AN OFF-WHITE EMBROIDERY THREAD. THE OUTER RING IS SILVER METAL AND HAS A SLIGHT RIDGE RUNNING ALONG THE CENTER. AT THE TOP, THE RING IS SPLIT AND AN ADJUSTABLE SCREW IS INSERTED THROUGH EACH END. THE SCREW CAN BE TURNED TO MAKE OUTER RING LARGER AND SMALLER.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
History
SEE P19990059001-GA FOR DONOR HISTORY.
Catalogue Number
P19990059017
Acquisition Date
1999-11
Collection
Museum
Less detail
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
WOOD, STEEL
Catalogue Number
P19880060002
Material Type
Artifact
Date Range From
1920
Date Range To
1930
Materials
WOOD, STEEL
No. Pieces
1
Length
10.8
Diameter
2.3
Description
BLOND WOOD HANDLE, PLATED FERRULE, STEEL SHANK & HOOK. FADED RED STRIP AROUND BASE OF FERRULE.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
History
USED IN HAND HOOKING RUGS. BELONGED TO DONOR'S MOTHER, GRACE MARSHALL, ARRIVED IN ALBERTA IN 1909 FROM NOVA SCOTIA, VIA U.S.A. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT AUDIT, WHICH INCLUDED A BUTTONHOOK AND CUTICLE KNIFE DONATED BY CATHERINE HARVEY. AS PART OF THE AUDIT PROCESS, PUNDYK CONNECTED WITH HARVEY’S DAUGHTER, CARL HARVEY-BARNES. ON OCTOBER 22, 2018, HARVEY-BARNES CAME INTO THE GALT MUSEUM TO REVIEW THE DONATION AND PROVIDE FURTHER INFORMATION. SHE DID NOT HAVE SPECIFIC MEMORIES OF ANY OF THE FIVE ARTIFACTS DONATED BY HER MOTHER, BUT SUSPECTS THEY WOULD HAVE BEEN FROM HER GRANDMOTHER’S DAILY LIFE. HARVEY-BARNES EXPLAINS THAT THE OBJECTS WOULD HAVE BEEN LEFT BEHIND IN HER GRANDMOTHER’S HOUSE FOLLOWING HER 1961 PASSING. WHILE UNCLEAR OF THESE RUG HOOKS SPECIFICALLY, HARVEY-BARNES RECALLED BEING TAUGHT HOW TO MAKE PUNCH RUGS BY HER GRANDMOTHER, GRACE MARSHALL, USING SIMILAR TOOLS. THE DONOR CONTRIBUTED HER FAMILY’S HISTORY TO THE COMMUNITY HISTORY BOOK TITLED “PIONEER PEMMICAN CLUB ROUNDUP 1885-1985” (PUBLISHED 1984). THE HISTORY READS: “ALEXANDER AND GRACE (MURRAY) MARSHALL WERE BOTH BORN IN PICTOU, NOVA SCOTIA. IN THE EARLY 1900’S ALEX BOUGHT LAND IN THE AREA NOW KNOWN AS THE MCNALLY DISTRICT, SOUTH OF LETHBRIDGE. WHILE STILL A YOUNG MAN HE MOVED TO THE UNITED STATES WHERE HE AND GRACE WERE MARRIED. IN 1909, THE MARSHALLS WITH THEIR FOUR SONS: BILL, DON, GEORGE AND ALEX, MOVED FROM MINOT, NORTH DAKOTA, TO LETHBRIDGE, TO LOOK AFTER THE LAND THEY HAD PREVIOUSLY BOUGHT. ALEX, BROTHER-IN-LAW, GEORGE MURRAY, ARRIVED IN 1910 TO BE FOREMAN ON THE FARM WITH ALEX WAS MANAGER OF A. MACDONALD WHOLESALE GROCERS, WHICH WAS LATER PURCHASED BY WESTERN GROCERS. ALEX DIED IN 1917. IN ADDITION TO THEIR FOUR SONS, THE MARSHALLS HAD A DAUGHTER, CATHERINE, WHO WAS BORN IN LETHBRIDGE. THE ELDEST SON, BILL, DIED AT THE AGE OF FOURTEEN YEARS AS THE RESULT OF AN ACCIDENT AT THE TAYLOR MOLL ON THIRTEENTH STREET SOUTH. DON MARSHALL, A PILOT IN THE UNITED STATES MARINES, WAS LATER INVOLVED IN THE AVIATION BUSINESS. GEORGE SERVED IN THE CANADIAN ARMY DURING WORLD WAR II; FOLLOWING HIS DISCHARGE HE BECAME A PARTNER IN MCGUIRE’S MEN’S WEAR IN LETHBRIDGE. ALEX WAS A WELL-KNOWN FARMER IN THE MCNALLY DISTRICT. CATHERINE MARRIED WILLIAM “BILL” HARVEY, GENERAL MANAGER OF A LETHBRIDGE AUTOMOTIVE FRANCHISED DEALERSHIP. BILL HARVEY IS NOW DECEASED AND CATHERINE CONTINUES TO LIVE IN LETHBRIDGE. THEY HAD TWO DAUGHTER, JANET AND CARL.” ACCORDING TO HARVEY-BARNES, HER GRANDMOTHER, GRACE MARSHALL, LIVED IN A HOUSE CATHERINE HARVEY RENTED IN THE 1930S FOLLOWING THE PASSING OF HER HUSBAND. THE OBITUARY FOR GRACE MARSHALL PUBLISHED ON JANUARY 11, 1961 IN THE LETHBRIDGE HERALD STATES SHE WAS BORN AT LOGANVILLE, NOVA SCOTIA. SHE PASSED AWAY JANUARY 10, 1961 AT THE AGE OF 83 YEARS. PLEASE SEE PERMANENT FILE P19880060001 FOR FURTHER INFORMATION INCLUDING NOTES FROM THE GALT MEETING WITH CARL HARVEY-BARNES ALONG WITH COPIES OF THE LETHBRIDGE HERALD AND ADDITIONAL ARCHIVAL RESEARCH.
Catalogue Number
P19880060002
Acquisition Date
1988-09
Collection
Museum
Less detail
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
WOOD, STEEL
Catalogue Number
P19880060003
Material Type
Artifact
Date Range From
1920
Date Range To
1930
Materials
WOOD, STEEL
No. Pieces
1
Length
8.7
Diameter
2.4
Description
BLOND WOOD HANDLE, MISSING FERRULE. PLATED STEEL SHANK & HOOK. DOUBLE INCISED LINE ON HANDLE. BULB SHAPED HANDLE.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
History
USED IN HAND-HOOKING RUGS. BELONGED TO DONOR'S MOTHER, GRACE MARSHALL, ARRIVED IN ALBERTA IN 1909 FROM NOVA SCOTIA, VIA U.S.A. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT AUDIT, WHICH INCLUDED A BUTTONHOOK AND CUTICLE KNIFE DONATED BY CATHERINE HARVEY. AS PART OF THE AUDIT PROCESS, PUNDYK CONNECTED WITH HARVEY’S DAUGHTER, CARL HARVEY-BARNES. ON OCTOBER 22, 2018, HARVEY-BARNES CAME INTO THE GALT MUSEUM TO REVIEW THE DONATION AND PROVIDE FURTHER INFORMATION. SHE DID NOT HAVE SPECIFIC MEMORIES OF ANY OF THE FIVE ARTIFACTS DONATED BY HER MOTHER, BUT SUSPECTS THEY WOULD HAVE BEEN FROM HER GRANDMOTHER’S DAILY LIFE. HARVEY-BARNES EXPLAINS THAT THE OBJECTS WOULD HAVE BEEN LEFT BEHIND IN HER GRANDMOTHER’S HOUSE FOLLOWING HER 1961 PASSING. WHILE UNCLEAR OF THESE RUG HOOKS SPECIFICALLY, HARVEY-BARNES RECALLED BEING TAUGHT HOW TO MAKE PUNCH RUGS BY HER GRANDMOTHER, GRACE MARSHALL, USING SIMILAR TOOLS. THE DONOR CONTRIBUTED HER FAMILY’S HISTORY TO THE COMMUNITY HISTORY BOOK TITLED “PIONEER PEMMICAN CLUB ROUNDUP 1885-1985” (PUBLISHED 1984). THE HISTORY READS: “ALEXANDER AND GRACE (MURRAY) MARSHALL WERE BOTH BORN IN PICTOU, NOVA SCOTIA. IN THE EARLY 1900’S ALEX BOUGHT LAND IN THE AREA NOW KNOWN AS THE MCNALLY DISTRICT, SOUTH OF LETHBRIDGE. WHILE STILL A YOUNG MAN HE MOVED TO THE UNITED STATES WHERE HE AND GRACE WERE MARRIED. IN 1909, THE MARSHALLS WITH THEIR FOUR SONS: BILL, DON, GEORGE AND ALEX, MOVED FROM MINOT, NORTH DAKOTA, TO LETHBRIDGE, TO LOOK AFTER THE LAND THEY HAD PREVIOUSLY BOUGHT. ALEX, BROTHER-IN-LAW, GEORGE MURRAY, ARRIVED IN 1910 TO BE FOREMAN ON THE FARM WITH ALEX WAS MANAGER OF A. MACDONALD WHOLESALE GROCERS, WHICH WAS LATER PURCHASED BY WESTERN GROCERS. ALEX DIED IN 1917. IN ADDITION TO THEIR FOUR SONS, THE MARSHALLS HAD A DAUGHTER, CATHERINE, WHO WAS BORN IN LETHBRIDGE. THE ELDEST SON, BILL, DIED AT THE AGE OF FOURTEEN YEARS AS THE RESULT OF AN ACCIDENT AT THE TAYLOR MOLL ON THIRTEENTH STREET SOUTH. DON MARSHALL, A PILOT IN THE UNITED STATES MARINES, WAS LATER INVOLVED IN THE AVIATION BUSINESS. GEORGE SERVED IN THE CANADIAN ARMY DURING WORLD WAR II; FOLLOWING HIS DISCHARGE HE BECAME A PARTNER IN MCGUIRE’S MEN’S WEAR IN LETHBRIDGE. ALEX WAS A WELL-KNOWN FARMER IN THE MCNALLY DISTRICT. CATHERINE MARRIED WILLIAM “BILL” HARVEY, GENERAL MANAGER OF A LETHBRIDGE AUTOMOTIVE FRANCHISED DEALERSHIP. BILL HARVEY IS NOW DECEASED AND CATHERINE CONTINUES TO LIVE IN LETHBRIDGE. THEY HAD TWO DAUGHTER, JANET AND CARL.” ACCORDING TO HARVEY-BARNES, HER GRANDMOTHER, GRACE MARSHALL, LIVED IN A HOUSE CATHERINE HARVEY RENTED IN THE 1930S FOLLOWING THE PASSING OF HER HUSBAND. THE OBITUARY FOR GRACE MARSHALL PUBLISHED ON JANUARY 11, 1961 IN THE LETHBRIDGE HERALD STATES SHE WAS BORN AT LOGANVILLE, NOVA SCOTIA. SHE PASSED AWAY JANUARY 10, 1961 AT THE AGE OF 83 YEARS. PLEASE SEE PERMANENT FILE P19880060001 FOR FURTHER INFORMATION INCLUDING NOTES FROM THE GALT MEETING WITH CARL HARVEY-BARNES ALONG WITH COPIES OF THE LETHBRIDGE HERALD AND ADDITIONAL ARCHIVAL RESEARCH.
Catalogue Number
P19880060003
Acquisition Date
1988-09
Collection
Museum
Less detail
Other Name
CROSS-STITCH PANEL
Date Range From
1880
Date Range To
1910
Material Type
Artifact
Materials
COTTON, LINEN
Catalogue Number
P19940005006
Material Type
Artifact
Other Name
CROSS-STITCH PANEL
Date Range From
1880
Date Range To
1910
Materials
COTTON, LINEN
No. Pieces
1
Length
46.2
Width
46.2
Description
SQUARE CREAM LINEN PATTERN HAS VARIOUS GUIDES ON PATTERN. TOP ROW HAS ALPHABET FROM A-I IN VARIOUS COLOURS, THE SECOND ROW HAS K-R IN MANY COLOURS, AND THE THIRD ROW HAS S-Y AND POSSIBLY Z(?). FROM THE MIDDLE DOWN THE PATTERN IS MOSTLY OF NATURAL DESIGNS (BIRDS, FLOWERS, LEAVES), AND HAS EXAMPLES OF DIFFERENT STITCHES, THERE ARE ALSO OTHER UNIDENTIFIABLE PATTERN MODELS. ON THE BOTTOM LEFT HAND SIDE THERE IS A LARGE PIECE MISSING FROM THE PATTERN, THESE ENDS ARE FRAYING. THERE ARE ALSO MINOR TEARS AND WEARING IN THE FABRIC. A SMALL STAIN APPEARS IN THE BOTTOM MIDDLE.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
History
CROSS STITCH PATTERN SHEET WAS USED BEFORE BOOKS WERE AVAILABLE SO THAT WOMEN COULD KEEP SAMPLES FOR EMBROIDERY. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A PAIR OF GLOVES DONATED BY ANNE DUECK. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. ANNE DUECK PASSED AWAY AT THE AGE OF 81 ON DECEMBER 13, 2004. ACCORDING TO HER OBITUARY “ANNE WAS KNOWN FOR HER TEACHING IN THE COMMUNITY OF COALDALE AT JOHN DAVIDSON AND R.I. BAKER SCHOOLS UNTIL HER RETIREMENT.” SHE WAS THE DAUGHTER OF PETER P. DUECK AND ANNA DUECK (MAIDEN NAME UNKNOWN). PETER P. DUECK PASSED AWAY AT THE AGE OF 88 ON AUGUST 9, 1983. ANNA DUECK (MAIDEN NAME UNKNOWN) WAS BORN IN THE CRIMEA AND MOVED TO CANADA IN 1926. ACCORDING TO HER OBITUARY, SHE LIVED IN COALDALE FROM THAT POINT FORWARD, EXCEPT FOR ONE YEAR. SHE PASSED AWAY AT THE AGE OF 86 ON DECEMBER 13, 1981. PETER DUECK’S BROTHER WAS NAMED FRANK DUECK. FRANK PASSED AWAY AT THE AGE OF 78 ON JANUARY 9, 1983. ACCORDING TO HIS OBITUARY, HE WAS BORN, RAISED, AND EDUCATED IN RUSSIA AND MOVED TO CANADA IN 1926, WHERE HE FARMED IN THE COALDALE DISTRICT BEFORE RETIRING TO LETHBRIDGE AND THEN CALGARY. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD.
Catalogue Number
P19940005006
Acquisition Date
1994-01
Collection
Museum
Less detail
Other Name
DAISY KNITTER
Date Range From
1931
Date Range To
2000
Material Type
Artifact
Materials
BRASS, PAPER
Catalogue Number
P20030049030
Material Type
Artifact
Other Name
DAISY KNITTER
Date Range From
1931
Date Range To
2000
Materials
BRASS, PAPER
No. Pieces
2
Length
11.5
Width
7.5
Diameter
4.5
Description
CIRCULAR BRASS DEVICE WITH FLAT BASE AND TURING KNOB ON TOP. WHEN KNOB IS TURNED HIDDEN PRONGS EXTEND. TOP EMBOSSED AND READS "DAISY KNITTER - PAT. U.S.A. 1819234". DAISY KNITTER INSTRUCTION PAGE. FOLDED TYPED PAGE IS DISCOLOURED AND BRITTLE. PAGE DISPLAYS DIAGRAM FOR USAGE ALONG WITH WRITTEN INSTRUCTIONS.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
History
SEE P20030049001 FOR COMPLETE HISTORY.
Catalogue Number
P20030049030
Acquisition Date
2003-10
Collection
Museum
Less detail
Other Name
TATTING CASE
Date Range From
1830
Date Range To
1890
Material Type
Artifact
Materials
TORTISESHELL, IVORY, SILVER
Catalogue Number
P20090016031
  1 image  
Material Type
Artifact
Other Name
TATTING CASE
Date Range From
1830
Date Range To
1890
Materials
TORTISESHELL, IVORY, SILVER
No. Pieces
10
Height
9.1
Length
4.1
Width
1.2
Description
TORTOISESHELL CASE AND LID WITH ASSORTED HOOKS AND NEEDLES AND HOLDER – 10 PIECES. REFER TO DIAGRAM IN PERMANENT FILE FOR LOCATIONS OF ITEMS IN CASE. 1. CASE, RECTANGULAR SHAPED. OUTSIDE COVERED WITH TORTOISESHELL VENEER. NINE COMPARTMENTS. COMPARTMENT 6 HAS A NEEDLE STUCK IN IT. LARGEST COMPARTMENT LINED WITH RED VELVET. TORTOISESHELL IS CRACKING ALONG EDGES OF CASE. LID HAS BROKEN OFF. 7.8 CM HIGH BY 4.1 CM LONG BY 1.2 CM WIDE. 2. LID , RECTUANGULAR SHAPED. OUTSIDE COVERED WITH TORTOISESHELL. INSIDE LINED WITH RED PAPER. SILVER BANNER ON TOP MARKED, “FM”. 2.2 CM HIGH BY 3.8 CM LONG BY 1.2 CM WIDE. 3. CROCHET HOOK, SILVER. POINTED HOOK AT ONE END, OTHER END COMES TO A POINT. TARNISHED. 5.6 CM LONG BY 0.2 CM IN DIAMETER. 4. NEEDLE, SILVER. ONE END TAPERS INTO A POINT, OTHER END TAPERS INTO A WEDGE SHAPE. TARNISHED. 5.4 CM LONG BY 0.1 CM IN DIAMETER. 5. NEEDLE, SILVER. BOTH ENDS TAPER TO A POINT. TARNISHED. 5.5 CM LONG BY 0.1 CM IN DIAMETER. 6. CROCHET HOOK, SILVER. ROUNDED HOOK AT ONE END, OTHER END BLUNT. TARNISHED. 5.5 CM LONG BY 0.1 CM IN DIAMETER. 7. CROCHET HOOK, SILVER. ONE END TAPERS INTO A POINT, HOOK APPEARS TO HAVE BEEN BROKEN OFF. TARNISHED. 5.5 CM LONG BY 0.1 CM IN DIAMETER. 8. CROCHET HOOK, SILVER. TINY POINTED HOOK AT ONE END, OTHER END COMES TO A POINT. TARNISHED. 5.6 CM LONG BY 0.1 CM IN DIAMETER. 9. CROCHET HOOK HOLDER. IVORY HANDLE WITH TWO ROUND, BLACK BANDS ON END CLOSEST TO SILVER HOLDER. TOP OF SILVER HOLDER DECORATED WITH BLACK BANDS, IT UNSCREWS FROM THE HANDLE TO REVEAL A SLOTTED, HOLLOW METAL SCREW. METAL ROD ENGRAVED “…EGISTERED…” 2 PIECES. 7.6 CM LONG BY 0.7 CM IN DIAMETER.
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
DECORATIVE ARTS
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016031
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
RUG WEAVER
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19940007001
Material Type
Artifact
Other Name
RUG WEAVER
Date Range From
1930
Date Range To
1940
Materials
WOOD
No. Pieces
1
Height
2.8
Length
92.5
Width
49.5
Description
RUG WEAVER IS RECTANULAR WOODEN FRAME WITH NARROW SLATS THROUGH ITS BODY. FRAME IS MADE UP OF TWO LENGTHS OF WOOD WITH HANDLE CROSS PIECES SET INTO INTERLOCK CORNER JOINTS. ENDS OF LOOM HAVE HANDLE HOLDS HEWN TO INSIDE OF FRAME. ALONG TOP AND BOTTOM EDGE OF FRAME ARE HOLES FOR ENDS OF EACH SLAT. NARROW WOODEN SLATS ARE SLOTTED INTO HOLES ALONG FRAME FOR WEAVING. A SINGLE HOLE IS DRILLED INTO THE MIDDLE OF EACH SLAT. FRAME IS SLIGHTLY WORN, DIRTY AND STEEL FASTENING NAILS ARE VISIBLE ALONG EDGES OF FRAME.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
DOMESTIC
History
LOOM WAS HANDMADE BY DONOR'S FATHER, GEORGE MATY, IN 1933. USED BY FAMILY TO WEAVE RAGS AND RUGS.
Catalogue Number
P19940007001
Acquisition Date
1994-01
Collection
Museum
Less detail
Other Name
TRANSFER PATTERN
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20170022000
  2 images  
Material Type
Artifact
Other Name
TRANSFER PATTERN
Date Range From
1940
Date Range To
1950
Materials
PAPER, INK
No. Pieces
2
Length
43
Width
71.3
Description
A.WHITE ENVELOPE, 11.6CM LONG X 20CM WIDE; ENVELOPE PRINTED WITH BLACK IMAGE OF A WOMAN EMBROIDERING BESIDE TABLE AND LAMP AND BLACK TEXT “THE HERALD, HOUSEHOLD ARTS DEPT., LETHBRIDGE, ALBERTA, RETURN POSTAGE GUARANTEED, ALICE BROOKS DESIGN, YOU HAVE ORDERED TWO OR MORE PATTERNS, PLEASE BE ADVISED THAT THEY MAY [WORD TORN] ARRIVE AT THE SAME TIME BECAUSE [WORD TORN] ARE MAILED IN SEPARATE ENVELOPES”. FRONT OF ENVELOPE HAS WHITE LABEL WITH PRINTED TYPED BLACK TEXT “LH DEC. 3/47, MRS. OLE HUSTAD, 336 TALISMAN AVE., VANCOUVER, B.C., 7457”. FRONT OF ENVELOPE HAS BLACK HANDWRITTEN TEXT “EMBROIDERY” AND RED POSTAL SEAL “TORONTO, ONTARIO, DEC. 5, 1947”. BACK OF ENVELOPE HAS BROWN LONG STAIN ON LEFT SIDE; ENVELOPE IS TORN OPEN AT FRONT LEFT SIDE; ENVELOPE IS CREASED ALONG TOP AND RIGHT EDGES. OVERALL GOOD CONDITION. B. TRANSFER PATTERN PRINTED IN DARK GREEN ON PAPER, 43CM LONG X 71.3CM WIDE. PAPER IS FOLDED INTO FOUR SECTIONS LENGTH-WAYS AND WIDTH-WAYS; FIRST SECTION HAS PRINTED BLUE TEXT “ALICE BROOKS DESIGNS, T.M. REG. U.S. PAT. OFF., TRANSFER PATTERN, NO. 7457” AND TEXT WITH INSTRUCTIONS “MATERIAL REQUIREMENTS”, “PLACING MOTIFS”, “TRANSFERRING PATTERN”, “EMBROIDERY”, “COLOR SUGGESTIONS”, AND IMAGES OF FIVE TYPES OF STITCHES. PATTERN IS PRINTED OF: A PUPPY IN A CORNER WITH DARK FOOTPRINTS LEADING TO PUPPY; A PUPPY IN A WASHBIN WITH KETTLE POURING WATER ON IT; A CHICK CHASING A PUPPY; A PUPPY HIDING FROM A CHICK BEHIND A DOGHOUSE LABELLED WITH REVERSED TEXT “BEWARE!”, A PUPPY WITH A BONE IN GRASS LOOKING AT BUTTERFLY; A PUPPY OUTSIDE A WASHBIN WITH KETTLE AND SCRUB BRUSH, AND DARK FOOTPRINTS; A CHICK WITH LABELLED WITH REVERSED TEXT “TRIAL”. BOTTOM RIGHT CORNER HAS REVERSED NUMBERS “7457”. PAPER IS YELLOWED AND TORN IN CENTER; PAPER IS CREASED FROM FOLDS INTO SIXTEEN SECTIONS; TOP LEFT CORNER IS CREASED ALONG EDGE; OVERALL GOOD CONDITION.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
DOMESTIC
History
ON JUNE 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED PAT DEBOER REGARDING THE DONATION OF A NEEDLEWORK TRANSFER PATTERN. THE TRANSFER PATTERN WAS SOLD TO PAT’S MOTHER, MARGARET HUSTAD, IN 1947 THROUGH THE LETHBRIDGE HERALD. WHEN ASKED ABOUT THE PATTERN AND HOW SHE CAME TO ACQUIRE IT, DEBOER ELABORATED, “MY MOTHER [MARGARET HUSTAD] NEVER THREW ANYTHING OUT…AND I DON’T THROW ANYTHING OUT. SHE HAD THIS GREAT BIG SEWING BOX PLUS A GREAT BIG BOX OF PATTERNS…WHEN SHE DIED IT JUST GOT MOVED TO MY HOUSE. I STARTED TO GO THROUGH IT AND I’VE GIVEN…A LOT OF THE PATTERNS I TO THE DRAMA DEPARTMENT IN THE UNIVERSITY BECAUSE THEY WENT BACK TO ABOUT 1945.” “THIS PATTERN…CAME FROM LETHBRIDGE, SHE ORDERED THEM THROUGH THE LETHBRIDGE HERALD…THAT’S HOW SHE COULD HAVE ORDERED THEM. [IT’S A] TRANSFER…THEY’RE LITTLE PUPPY DOGS AND A DOG HOUSE…I THINK SHE BOUGHT IT TO USE IN THINGS IN MY ROOM.” “IT’S IMPORTANT FOR PEOPLE TO UNDERSTAND THAT…WE DIDN’T HAVE MASS [PRODUCED GOODS]. MOM DIDN’T HAVE MASS PRODUCED STUFF LIKE THEY DO NOW. SHE WAS AN EXPERIENCED SEAMSTRESS AND SHE MADE ALL MY CLOTHES, SHE ALTERED ALL HER CLOTHES AND SHE HAD SO MUCH [SEWING] STUFF. I THOUGHT WELL…I DON’T THINK IT WOULD HURT TO GIVE SOME OF THIS TO THE GALT SO THAT IF YOU EVER WANT TO DO A DIORAMA…THAT EXPLAINS WHAT WIVES AND FARM WIVES AND WOMEN DID YEARS AGO.” DEBOER SPOKE TO HER MEMORIES OF HER MOTHER’S SEWING, RECALLING, “I DON’T KNOW WHERE [MY MOTHER] LEARNED HOW TO SEW, OTHER THAN I THINK WOMEN ALWAYS SEWED. IT WAS A NECESSITY, DURING THE DIRTY ‘30S WHEN PEOPLE COULDN’T GET THINGS. WOMEN WOULD COME INTO TOWN HERE, THEY WOULD SEND THEIR HUSBANDS TO ELLISON’S AND GET FLOUR SACKS. THEY WOULD MAKE TEAS TOWELS AND PILLOW SLIPS, AND IT WAS SIMPLY BECAUSE THAT WAS WHAT THEY HAD, THAT’S WHAT THEY COULD GET. MOM WAS GOOD AT IT. DURING THE ‘30S, MOM AND HER FAMILY WERE LITERALLY LIVING HAND TO MOUTH AND MOM WAS MARRIED TO A GENTLEMEN FROM BARONS FOR FOUR OR FIVE YEARS AND SHE WAS RIGHT DURING THE MIDDLE OF THE ‘30S. [SHE] AND LLOYD HAD NO MONEY, BUT PEOPLE WOULD GIVE MOTHER THINGS. THEY WOULD GIVE HER OLD DRESSES AND THEY’D GIVE HER OLD COATS, AND SHE WOULD ALTER THEM SO THAT SHE COULD WEAR THEM, OR LLOYD COULD WEAR THEM. OTHERWISE SHE WOULDN’T [HAVE] HAD ANY CLOTHES TO WEAR.” “[MY LOVE OF SEWING] COMES FROM MY MOTHER…SHE ALWAYS WAS SEWING…THE SEWING MACHINE SAT IN THE KITCHEN, RIGHT WHERE SHE COULD GET AT IT. SHE TAUGHT ME TO SEW WHEN I WAS ABOUT TWELVE MAYBE, A SINGER SEWING MACHINE AND I DID IT. I COULD’VE USED A TREADLE SEWING MACHINE TOO BECAUSE MY AUNT THAT LIVED IN VULCAN…SHE HAD A TREADLE SEWING MACHINE, SO I’D USE THAT. MY MOM TAUGHT ME TO SEW ON AN ELECTRIC SEWING MACHINE AND SHE TAUGHT ME TO MAKE MY OWN DOLL CLOTHES. THAT’S HOW IT STARTED. I HAD AN AFFINITY FOR IT. IT WAS SOMETHING I FELT I LIKE I WAS GOING TO BE GOOD AT…YOU COULD PRODUCE SOMETHING THAT SOMEBODY ELSE COULD USE OR ENJOY. WHEN MY GIRLS WERE LITTLE I MADE ALL THEIR OWN CLOTHES. I SEWED EVERYTHING.” “MY MOTHER WAS THIRTY-EIGHT WHEN I WAS BORN…I CAME LATER IN LIFE. MY DAD [MOTHER’S SECOND HUSBAND] WAS SIXTY-SEVEN WHEN I WAS BORN. I’M MY DAD’S SECOND FAMILY. MOTHER ALWAYS SEWED, SHE SEWED FOR HER[SELF], SHE HAD A SISTER WHO HAD EIGHT CHILDREN AND FOUR GIRLS AND FOUR BOYS, AND MOM SEWED FOR THEM. THEY LIVED JUST OUTSIDE OF VULCAN…THE OTHER LADIES SEWED, BUT NOT TO THE EXTENT MY MOTHER DID. MY MOTHER REALLY WAS AN EXPERT SEAMSTRESS. SOME OF THE NEIGHBOURS WOULD BRING THINGS UP TO HAVE MOTHER FIX THEM, OR [SHE WOULD] SHOW THEM HOW TO FIX THEM. MOTHER WAS ALSO VERY GOOD AT MAKING DINING ROOM AND LIVING ROOM DRAPES. THE NEIGHBOURS WOULD SHOW UP WITH THESE BOLTS OF CLOTH AND SAY, “HERE MARGARET WE NEED DRAPES”…IT WAS A BIT UNUSUAL. THE OTHER LADIES IN THE NEIGHBOURHOOD DIDN’T DO IT LIKE SHE DID…I THINK THAT WAS PART OF THE REASON WHY I TOOK TO SEWING.” “MOM A GREAT BIG KITCHEN, AND HER IRONING BOARD WAS IN THE KITCHEN AND…THE SEWING MACHINE WOULD GET MOVED OUT TO THE KITCHEN, EVERY SO OFTEN IT WOULD GET PUT AWAY…AT CHRISTMAS WHEN SHE WAS CLEANING THE HOUSE UP FOR COMPANY. IT WOULD GET PUT AWAY. MOST OF THE TIME IT WAS IN THE KITCHEN. MOM WAS SEWING AND I APPARENTLY EXPRESSED AN INTEREST, AND SO SHE SAID “OKAY IF THIS WHAT YOU’D LIKE TO DO” THEN…SHE BOUGHT PATTERNS FOR DOLL CLOTHES THAT WOULD FIT MY DOLLS AND STARTED TEACHING ME. WE’D BE IN THE KITCHEN, AND IT WAS JUST SOMETHING THAT WAS DONE, BETWEEN THE TWO OF US…IT WAS A PROGRESSION OF HER EXPERTISE AND LOVE OF DOING IT.” “I DON’T THINK SHE EVER CHARGED [FOR HER SEWING]. IT WAS THEY ASKED HER AND SHE SAID OKAY AND THAT WAS THE WAY IT WAS. I CAN NEVER REMEMBER MY MOTHER CHARGING FOR HER SEWING.” “PART OF [SEWING] WAS BONDING WITH MY MOM. I WAS AN ONLY CHILD BEING RAISED BY PARENTS WHO WERE OLD. THERE [WERE] A LOT OF TIMES WHERE I WAS BY MYSELF BECAUSE OF THE PEOPLE MOM AND DAD ASSOCIATED WITH WERE OLDER…SO [SEWING] WAS SOMETHING THAT I COULD DO THAT WOULD KEEP ME OCCUPIED…WHILE MOM AND DAD WERE VISITING…IT WAS A GENERATIONAL THING, BECAUSE MOM AND DAD WERE ESSENTIALLY A GENERATION ABOVE THE PARENTS OF ALL MY FRIENDS. I SPENT A LOT OF TIME AS A YOUNG CHILD ALONE, SO I READ OR SEWED.” “[MY PARENTS] LIVED IN VANCOUVER [AFTER RETIRING]…THEY LIVED IN VANCOUVER FROM 1945 TO 1949.” “IN 1949 THEY MOVED, THEY DIDN’T COME TO LETHBRIDGE RIGHT AWAY. I WAS RAISED IN PENTICTON. MY DAD HAD BRONCHITIS AND WHEN THEY MOVED OUT TO VANCOUVER HE FOUND THE DAMP AIR WAS TOO HARD ON HIS LUNGS. HE DIDN’T WANT TO COME BACK TO GRANUM, SO HE WENT LOOKING FOR SOME PLACE TO MOVE TO THAT WAS DRIER SO HE FOUND PENTICTON.” “IN 1961 I MARRIED A BOY FROM BARONS BY THE NAME OF RONALD DEBOER. I HAD A CHILD, AND AS I’M AN ONLY CHILD, AND DAD AND MOM DECIDED IF THEY WERE GOING TO HAVE GRANDCHILDREN, THEY WANTED TO BE CLOSE TO THEIR GRANDCHILDREN AND MOVED BACK.” “SHE KEPT SEWING. SHE MADE CLOTHES FOR HER GRANDDAUGHTER…MOM WAS ALWAYS SEWING SOMETHING. I DON’T THINK SHE MADE TOO MANY THINGS FOR ME AFTER THEY MOVED BACK TO LETHBRIDGE HERE, BUT SHE CERTAINLY DID FOR [MY DAUGHTERS]. THERE WERE SIX YEARS BETWEEN BOTH MY TWO GIRLS, MY FIRST HUSBAND WAS KILLED A YEAR AND FOUR MONTHS AFTER WE WERE MARRIED IN A FARMING ACCIDENT. I WAS SINGLE FOR TWO YEARS…THE FACT THAT MOM AND DAD WERE HERE IN LETHBRIDGE WAS MY SAVING GRACE BECAUSE I WAS OUT ON THE FARM.” “I SEWED ALL THE TIME. THE LAST FEW YEARS IS ABOUT THE ONLY TIME I HAVEN’T SEWED. THIS LAST…TEN OR FOURTEEN YEARS THAT I HAVEN’T SEWED ON A REGULAR BASIS [WAS] BECAUSE I HAD TO GO BACK TO WORK FULLTIME. BUT PREVIOUS TO THAT I SEWED ALL THE TIME. MY MACHINE WAS NEVER PUT AWAY. IT WAS DOWN IN THE BEDROOM, IT WAS JUST NEVER PUT AWAY.” “[I ALWAYS SEWED] GENERALLY SPEAKING CLOTHES. I WAS EITHER ALTERING CLOTHES…MY HUSBAND’S GOT REALLY SHORT LEGS, TWENTY-EIGHT (28) INCH LEG, YOU CAN’T GET A PANT THAT’S GOT TWENTY-EIGHT INCH LEGS, SO I WAS SHORTENING HIS JEANS. ON THE FARM YOUR WORK CLOTHES GET RIPPED AND THE SEAMS COME APART AND I DID ALL THAT.” “[I LIKED SEWING FOR] THE FACT THAT I COULD SHUT EVERYTHING ELSE OUT, AND IT WAS MY TIME. I COULD FOCUS…IF I WAS IN THE MIDDLE OF A PROJECT, YOU HAD TO KNOW WHERE THE GROCERIES WERE BECAUSE I NEVER STOPPED. [MY HUSBAND] WOULD COME IN AND SAY “YOU KNOW, IT IS SUPPER TIME”, AND I’D SAY, “YEAH, MHMM”. IT WAS A WAY FOR ME TO FOCUS, AND IT WAS MY TIME. IT WAS JUST TIME THAT WAS MINE. I WAS BEING CREATIVE, AND FELT LIKE I REALLY BEING USEFUL…IT FELT GOOD.” WHEN ASKED ABOUT HER MOTIVATION TO DONATE THE PATTERN, DEBOER NOTED, “I HAVEN’T BEEN DOING ANY SEWING FOR A LONG TIME AND I DECIDED BECAUSE I HAVEN’T DONE ANY SEWING FOR A LONG TIME MAYBE I SHOULD GET GOING AND START DOING SOME SEWING. WHEN I STARTED SEWING, I STARTED GOING THROUGH ALL THIS STUFF, AND I THOUGHT THERE’S A LOT OF OLD INTERESTING STUFF IN HERE. THIS IS JUST A VERY BRIEF SAMPLE OF WHAT I HAVE AT HOME. I THOUGHT MAYBE I SHOULD GET A HOLD OF [THE MUSEUM] AND SEE IF THEY’D LIKE SOMETHING THAT THEY COULD USE TO DEMONSTRATE AT SOME POINT IN TIME THROUGH THE MUSEUM OF WHAT WOMEN USED TO DO…WHAT THEY WERE EXPECTED TO DO.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTS, PLEASE SEE THE PERMANENT FILE P20170022000-GA.
Catalogue Number
P20170022000
Acquisition Date
2017-06
Collection
Museum
Images
Less detail
Other Name
WORK BOX
Date Range From
1830
Date Range To
1953
Material Type
Artifact
Materials
WOOD, MOTHER OF PEARL, PAPER.
Catalogue Number
P20090016001
  1 image  
Material Type
Artifact
Other Name
WORK BOX
Date Range From
1830
Date Range To
1953
Materials
WOOD, MOTHER OF PEARL, PAPER.
No. Pieces
14
Height
12.8
Length
19.9 19.9
Width
27.7
Description
WOODEN NEEDLEWORK BOX, TRAY, LIDS, NEEDLE HOLDERS, VENEER FRAGMENTS AND KEY – 14 PIECES. PLEASE REFER TO PERMANENT FILE FOR DIAGRAM OF BOX WITH LABELED COMPARTMENTS. 1. NEEDLEWORK BOX, DARK WOOD VENEER, RECTANGULAR SHAPE. TOP OF BOX DECORATED WITH TWO TONE DIAMOND SHAPED MOTHER OF PEARL INLAY, BORDER IS CREAM COLORED, MIDDLE BAND IS MARBELIZED, CENTRE IS CREAM WITH INITIALS "F.M" CARVED INTO THE SURFACE. SIMILAR TWO TONE DIAMOND SHAPED MOTHER OF PEARL INLAY LOCATED AROUND KEYHOLE ON FRONT OF BOX. PROPER LEFT SIDE OF LID MISSING STRIP OF VENEER GOING ENTIRE LENGTH OF BOX. VENEER ALSO MISSING ON BACK PROPER RIGHT CORNER AND FRONT PROPER LEFT CORNER. INSIDE OF BOX DECORATED WITH PINK SILK, AND CURVY STRIPED GREY AND CREAM PAPER. UNDERSIDE OF LID IS CREAM SILK PIN CUSION WITH METAL CLOSURE, PEARLESCENT BUTTON WITH MOTHER OF PEARL INLAY AND BLACK AND GOLD, FOLIAGE PATTERNED BORDER. PIN CUSHION PULLS OUT TO REVEAL EXPANDABLE PAPER FOLDER. BOX CONTAINS MULTI COMPARTMENT TRAY WHICH LIFTS OUT TO REVEAL LARGE STORAGE SPACE UNDERNEATH. 12.8 CM HIGH BY 19.9 CM LONG BY 27.7 CM WIDE. 2. TRAY WITH SIXTEEN COMPARTMENTS OF VARYING SIZES. WOODEN TRAY COVERED IN GREY AND CREAM CURVY STRIPED PAPER. FOUR COMPARMENTS COVERED WITH PINK SILK. PAPER PEELING ALONG FRONT, BOTTOM EDGE OF TRAY. 4.5 CM HIGH BY 17.3 CM LONG BY 25.2 CM WIDE. 3. LID, RECTANGULAR SHAPED. MOTHER OF PEARL FLOWER SHAPED HANDLE IN CENTER. TOP OF LID COVERED WITH PINK SILK, BOTTOM COVERED WITH GREY AND CREAM CURVY STRIPED PAPER. LID SOILED AND DISCOLORED THROUGHOUT. 0.8 CM HIGH BY 6.7 CM LONG BY 5.9 CM WIDE. 4. LID, RECTANGULAR SHAPED. PINK SILK COVERS TOP, GREY AND CREAM CURVY STRIPED FABRIC COVERS BOTTOM. PINK FABRIC LOOP ATTACHED TO PROPER LEFT SIDE OF LID. PINK SILK BAND WITH FOUR SEWN COMPARTMENTS RUNS THROUGH THE TOP CENTRE OF THE LID. APPEARS THAT THE BAND WOULD HAVE HELD TOOLS OF SOME SORT. SILK AND PAPER ARE SOILED AND DISCOLORED THROUGHOUT. EDGES OF SILK LOOP ARE FRAYING. 1.3 CM HIGH BY 6.9 CM LONG BY 12.8 CM WIDE. 5. LID, RECTANGULAR SHAPED. MOTHER OF PEARL FLOWER SHAPED HANDLE IN CENTRE. TOP OF LID COVERED WITH PINK SILK, BOTTOM COVERED WITH GREY AND CREAM CURVY STRIPED PAPER. LID SOILED AND DISCOLORED THROUGHOUT. 0.9 CM HIGH BY 6.7 CM LONG BY 6.0 CM WIDE 6. LID, RECTUANGULAR SHAPED. MOTHER OF PEARL FLOWER SHAPED HANDLE IN CENTRE. TOP OF LID COVERED WITH PINK SILK, BOTTOM COVERED WITH GREY AND CREAM CURVY STRIPED PAPER. LID SOILED AND DISCOLORED THROUGHOUT. 0.7 CM HIGH BY 3.6 CM LONG BY 11.5 CM WIDE. 7. COMPARTMENT DIVIDER, RECTANGULAR SHAPED. WOOD COVERED IN GREY AND CREAM CURVY STRIPED PAPER. PAPER SOILED AND DISCOLORED THROUGHOUT. PAPER ABSENT ON THREE OUT OF FOUR EDGES OF DIVIDER. 0.3 CM HIGH BY 3.0 CM LONG BY 2.5 CM WIDE. 8. (2) NEEDLE HOLDER BOOKS. OUTSIDE OF HOLDER COVERED IN PINK SILK, INSIDE COVERED IN GREY AND CREAM CURVY STRIPED PAPER. ATTACHED TO INSIDE OF HOLDER IS PIECE OF COTTON FABRIC WITH PINKED EDGES. EACH HOLDS ONE NEEDLE (SEE BELOW FOR DESCRIPTION). HOLDER SOILED AND DISCOLORED THROUGHOUT. 0.8 CM HIGH BY 4.8 CM LONG BY 2.5 CM WIDE. 9. NEEDLE, FINE, STAINLESS STEEL. SMALL EYE MEASURES A LITTLE LESS THAN 0.1 CM. 3.1 CM LONG BY LESS THAN 0.1 CM IN DIAMETER. 10. NEEDLE, STAINLESS STEEL. SMALL EYE MEASURES LESS THAN 0.1 CM. 3.9 CM LONG BY 0.1 CM IN DIAMETER. 11. VENEER, DARK COLORED WOOD. IRREGULAR EDGES. 19.1 CM LONG BY 1.1 CM WIDE. 12. VENEER, DARK COLORED WOOD. IRREGULAR EDGES. 11.8 CM LONG BY 1.3 CM WIDE. 13. KEY, SILVER. OVAL LOOP AT TOP, HOLLOW STEM WITH SMALL NODULE ON END. FOUR CIRCULAR INDENTED BANDS WHERE KEY LOOP MEETS KEY STEM. 0.4 CM HIGH BY 3.0 CM LONG BY 2.0 CM WIDE.
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
History
ACCORDING TO THE DONOR, KATHERINE IVES TWISS, SHE GOT THE BOX FROM EDITH KIRK. SHE SAID, "IT WAS HER MOTHER'S BOX. MISS KIRK GAVE IT TO MY MOTHER [ETTA HENDERSON IVES] TO GIVE TO ME." TWISS WAS GIVEN THE BOX BECAUSE SHE WAS A "STUDENT AND FRIEND" OF KIRK. THE DONATION WAS BROUGHT IN BY TWISS'S DAUGHTER, K.A. STEEL, IN HER LETTER SHE WRITES, "WHEN MISS KIRK PASSED AWAY SHE LEFT AN ANTIQUE JEWELLERY-TYPE BOX... TO TWISS.... MISS KIRK SAYS THAT THE BOX BELONGED TO HER MOTHER AND WAS OVER 100 YEARS OLD. MOST OF ITS CONTENTS WERE VERY OLD AND BROKEN DOWN, BUT VERY INTERESTING. THIS BOX WAS THE ONLY POSSESSION THAT MISS KIRK HAD, AND SHE MUST HAVE LOVED IT DEARLY. IT WOULD HAVE BEEN ALL THAT SHE HAD OF HER MOTHER. SHE BROUGHT IT ALL THE WAY FROM ENGLAND, AND KEPT IT SAFE ALL THROUGHOUT HER LIFE... [WHEN SHE CAME TO LETHBRIDGE] SHE MET MRS. MARGARET (ETTA) HENDERSON IVES, WHO HAD BEEN BORN IN LETHBRIDGE IN 1890, AND THEY BECAME FRIENDS. MISS KIRK GOT SET UP IN A SMALL APARTMENT AND TAUGHT ART LESSONS. MRS. ETTA IVES HAD BOTH OF HER DAUGHTERS, MARGARET AND KATHARINE, TAKE ART LESSONS FROM MISS KIRK. MRS. IVES ALSO BOUGHT A NUMBER OF PAINTINGS FROM MISS KIRK. MISS KIRK WAS A LOVELY, DECENT WOMAN. MARGARET TOOK LESSONS BUT DIDN'T LOVE ART. KATHARINE LOVED ART AND WAS GIVEN MANY, MANY LESSONS. WHEN SHE LOOKS BACK SHE THINKS SHE WAS GIVEN SO MANY LESSONS NOT ONLY TO LEARN TO PAINT, BUT ALSO TO HELP MISS KIRK MAKE A LIVING. MISS KIRK HAD A TINY APARTMENT WHERE KATHARINE TOOK HER LESSONS. KATHARINE REMEMBERS THAT MISS KIRK ONLY HAD A HOT PLATE TO COOK HER MEALS ON. SHE REMEMBERS THAT MISS KIRK ALWAYS SEEMED TO BE COOKING AN EGG FOR HER MEAL. KATHARINE AND MISS KIRK ALSO SPENT A GREAT DEAL OF TIME TOGETHER IN THE COUNTRYSIDE SKETCHING... KATHARINE JUST LIKED MISS KIRK VERY MUCH AND REALLY LIKED THE ART LESSONS. SHE SAID THAT MISS KIRK REALLY KNEW HER COLOURS. MISS KIRK KNEW HOW TO MIX THE PAINTS TO GET JUST THE RIGHT COLOUR... AN ART LESSON COST 25 CENTS PER LESSON. ART SUPPLIES WERE EXPENSIVE AND GETTING ONE NEW COLOUR OF PAINT WAS AN EXCITING ADVENTURE. IT MUST HAVE BEEN HARD FOR MISS KIRK TO PURCASE ALL THE MATERIALS SHE NEEDED FOR HER PAINTINGS... KATHARINE GREW UP, MOVED AWAY... AND THEN MARRIED. MISS KIRK WANTED TO GIVE KATHARINE ONE OF HER PAINTINGS AS A WEDDING GIFT. MISS KIRK WROTE A LETTER TELLING KATHARINE TO COME AND PICK WHICHEVER PAINTING SHE LIKED THE BEST FOR HER WEDDING GIFT. KATHARINE DID PICK A PAINTING AND THAT PAINTING HAS BEEN ON HER WALL ALL OF THESE YEARS... " GALT CURATOR, WENDY AITKENS, DID SOME RESEARCH ON KIRK AND CONTINUES TO SEARCH FOR MORE ANSWERS ABOUT THE LIFE OF THIS WOMAN. SEE BELOW, "FOR 35 YEARS, LETHBRIDGE WAS THE HOME OF AN ACCOMPLISHED AND WELL KNOWN ARTIST AND ART TEACHER. EDITH FANNY KIRK, OR MISS KIRK AS MOST PEOPLE CALLED HER, CREATED WATER COLOUR LANDSCAPES OF ENGLAND, VANCOUVER, LETHBRIDGE, WATERTON, BANFF, AND JASPER. SHE TAUGHT MANY CHILDREN AND ADULTS THE SKILLS OF PAINTING. SHE ALSO SPOKE AT THE MATHESIS CLUB PERSENTING PAPERS ON THE DEVELOPMENT OF MODERN ART, THE EVOLUTION OF ART AND ART APPRECIATION. JOAN STEBBINS, PAST CURATOR AT THE SAAG, CREDITS THE INFLUENCE OF MISS KIRK FOR THE DEVELOPMENT OF THE LETHBRIDGE SKETCH (NOW ARTISTS') CLUB IN THE 1930S. WHEN MISS KIRK ARRIVED IN LETHBRIDGE IN 1918, SHE WAS 60 YEARS OLD. SHE WAS BORN IN 1858 AND WAS RAISED IN YORKSHIRE, ENGLAND. HER MOTHER, FANNY (NEE MAUGHAM) PASSED AWAY WHEN EDITH WAS A YOUNG GIRL AND HER FATHER REMARRIED. THE STORY, FROM SECOND HAND SOURCES, WAS THAT SHE AND HER STEP MOTHER DID NOT LIKE ONE ANOTHER. THIS PROVIDED TO BE A BLESSING IN DISGUISE BECAUSE EDITH WAS SENT AWAY TO STUDY ART. EDITH STUDIED IN SOUTH KENSINGTON, LONDON AND PARIS. DURING HER SUMMERS SHE JOINED ARTIST'S COLONIES IN CORNWALL, WALES AND YORKSHIRE. SHE WROTE OF IMPRESSIONIST PAUL CEZANNE BEING HER "MODEL AND INSPIRATION" AND SHE GREATLY ADMIRED ROMANTIC ARTIST JOHN SELL COTMAN. KIRK NEVER MARRIED AND, FOR SOME REASON, SHE DECIDED TO IMMIGRATE TO CANADA AT THE AGE OF 46. SHE ARRIVED IN HALIFAX ABOARD THE HMS CANADA IN APRIL 1905. THE PASSENGER LIST INDICATED SHE WAS TRAVELING ON TO VANCOUVER AND HER OCCUPATION WAS LISTED AS A GOVERNESS. IT SEEMS SHE DIDN'T STAY LONG IN VANCOUVER BUT SOON TRAVELLED TO ATLIN, B.C. TO GET TO ATLIN, KIRK WOULD HAVE TAKEN A SHIP TO SKAGWAY, THE WHITE PASS RAILWAY TO CARCROSS AND THEN AN OVERLAND AND BOAT TRIP TO ATLIN. IT IS A MYSTERY WHY SHE CHOSE TO GO TO A REMOTE GOLD RUSH TOWN IN NORTH WESTERN BRITISH COLUMBIA. NEXT WE FIND KIRK, IN 1911, BOARDING WITH THE WOODS FAMILY IN LILLOOET, NORTHWEST OF KAMLOOPS, B.C. THERE SHE IS A PUBLIC SCHOOL TEACHER. SEVEN YEARS LATER EDITH KIRK IS IN LETHBRIDGE. IT SEEMS SHE KNEW PEOPLE LIVING IN TABER, DR. ALFRED HAMMAN AND HIS SISTER MRS. SYLVIA GIDMAN, WHO CAME FROM HER HOMELAND IN ENGLAND SO CHOSE VISIT. THE CHARM OF THE PRAIRIE AND MOUNTAIN LANDSCAPES OF SOUTHERN ALBERTA ENTICED HER TO STAY. MISS KIRK LIVED IN THE VICTORIA MANSION AND THE TRAVELLER'S AID SOCIETY BUILDING AND SHE TAUGHT ART CLASSES AT THE YMCA FOR A FEW DOLLARS A MONTH." FOR PAPERS WRITTEN AND PRESENTED BY MISS EDITH KIRK TO MEMBERS OF THE MATHESIS CLUB OF LETHBRIDGE BETWEEN 1933 AND 1937, SEE ARCHIVAL DONATION P19951042000. THE PAPERS DISCUSS THE EVOLUTION OF ART, MODERN ART, HOW ARTISTS DEVELOP PAINTINGS AND ART APPRECIATION. FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO THE BOOK, "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRCK," BY WENDY AITKENS PUBLISHED IN 2015. ALSO SEE PERMANENT FILE.
Catalogue Number
P20090016001
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
RICK RACK
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
COTTON, PAPER, CELLOPHANE
Catalogue Number
P19990097001
Material Type
Artifact
Other Name
RICK RACK
Date Range From
1980
Date Range To
1990
Materials
COTTON, PAPER, CELLOPHANE
No. Pieces
1
Height
0.5
Length
13.3
Width
5.3
Description
A LENGTH (15 FEET) OF BLACK, SCALLOPED RICK RACK, WRAPPED AROUND A RECTANGULAR PIECE OF CARDBOARD. WRAPPED AROUND THE RICK RACK IS A PURPLE PAPER LABEL. ON FRONT READS, IN WHITE, "RICK RACK 15 FEET 25C CORTICELLI BOIL PROOF ART. CBR144 SIZE 29 MADE IN CANADA". BACK OF LABEL READS, "THREADS RIBBONS HOSIERY SWEATERS ELASTICS BRAIDS TAPES SHOE LACES KNITTING YARNS BELDING-CORTICELLI LIMITED MONTREAL WINNIPEG TORONTO VANCOUVER". FRONT OF LABEL HAS A FOLD IN IT. ENTIRE PACKAGE IS WRAPPED IN CLEAR CELLOPHANE. CELLOPHANE IS TORN AT THE TOP OF PACKAGE.
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
History
DONOR PURCHASED AT SALVATION ARMY IN LETHBRIDGE IN 1999. SEE PREVIOUS DONATIONS FOR DONOR HISTORY.
Catalogue Number
P19990097001
Acquisition Date
2000-03
Collection
Museum
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
Date Range From
1970
Date Range To
1990
Material Type
Artifact
Materials
PAPER, PLASTIC, TIN
Catalogue Number
P19990061028
Material Type
Artifact
Date Range From
1970
Date Range To
1990
Materials
PAPER, PLASTIC, TIN
No. Pieces
54
Height
3.0
Length
16.2
Width
12.1
Description
1. COVER - RECTANGULAR, CARDBOARD; LIKE A BOX, BUT HAS NO ENDS. PICTURED ON COVER IS A WOMAN'S HAND HOLDING A BUTTON ATTACHER OVER A BLUE PIECE OF FABRIC. TOP OF COVER READS "BUTTONEER THE 5-SECOND BUTTON ATT[ACHER]". SIDES OF COVER HAVE A WHITE RECTANGLE, WITHIN WHICH READS "AS SEEN ON T.V.!". BACK OF COVER HAS INSTRUCTIONS AND USES FOR BUTTON ATTACHER. 2. INSTRUCTIONS - A THREE-FOLD BROCHURE. CONTAINING INSTRUCTIONS FOR USING BUTTON ATTACHER, TIPS, AND OTHER USES. FRONT PAGE READS "ENJOY YOUR BUTTONEER" "DISTRIBUTED EXCLUSIVELY BY RONCO.". 3. ENVELOPE - WHITE, PAPER ENVELOPE. HAS INSTRUCTIONS FOR ORDERING, AND AB UTTONEER REFILL ORDER FORM ON BACK. FRONT OF ENVELOPE HAS PREPAID POSTAGE AND ADDRESSED TO "RONCO TELEPRODUCTS, INC. 919 NORTH MICHIGAN AVENUE CHICAGO, ILLINOIS 60611". 4. RECEIPT - PLAIN, WHITE, WITH PURPLE PRINT. READS "08-24-99" HAS FIVE PRICES, PRECEDED BY STARS. AT BOTTOM IT READS "1 CL - 585.4 12-46". 5. CASE - RECTANGULAR, PLASTIC. LID OF CASE IS CLEAR, AND HAS A FROSTED RECTANGLE ON IT. EMBOSSED WITHIN RECTANGLE IS "BUTTONEER BY DENNISON". BOTTOM OF CASE IS BLUE. LID SNAPS INTO BOTTOM OF CASE. INSIDE CASE IS A LIGHT BLUE, PLASTIC PIECE. THIS HAS FIVE DIFFERENT INDENTS, THAT ACT AS COMPARTMENTS. 6. BUTTONEER - BLUE AND SILVER PLASTIC. CONSISTS OF A SIMPLE HANDLE, WITH A NEEDLE-LIKE DEVICE ON ONE END. HALF OF HANDLE IS SILVER; THIS PIECE IS ON A SPRING AND CAN BE PUSHED DOWN. THERE IS A WHITE PLASTIC WHEEL NEAR NEEDLE END. THERE IS A LIGHT BLUE, PLASTIC CAP OVER NEEDLE. A LABEL ON SILVER PART OF HANDLE READS "BUTTONEER BY DENNISON U.S. PAT. 3470834 PAT. CANADA, 1970 AND OTHER FOREIGN PATENTS". 7. VARIOUS FASTENERS AND BUTTONS - COMPARTMENTS INSIDE CASE CONTAIN VARIOUS SHAPES, SIZES, AND COLOURS OF PLASTIC FASTENERS. THERE ARE ALSO THREE, ROUND WHITE BUTTONS. THERE IS ALSO A SILVER, SORT OF KEY SHAPED PIECE. IT IS ETCHED WITH "BUTTONEER HOLE SIZER".
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
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
P19990061028
Acquisition Date
1999-10
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
Other Name
SACK NEEDLES
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
CARDBOARD, STEEL
Catalogue Number
P20030016003
Material Type
Artifact
Other Name
SACK NEEDLES
Date Range From
1950
Date Range To
1970
Materials
CARDBOARD, STEEL
No. Pieces
6
Height
1.4
Length
16.2
Width
4.5
Description
1. BOX. ABOVE DIMENSIONS. 2 PIECE. BROWN CARDBOARD. ONE PIECE HAS BOTTOM AND SIDES THAT ARE REINFORCED WITH PAPER TAPE, AND FITS INSIDE OUTER PIECE. OUTER PIECE HAS BOTH ENDS OPEN. ON TOP IS A YELLOW LABEL THAT READS "ART NO. C 5009 SPRING EYED SACK NEEDLES WITH CUTTING EYES & POINTS . . . JOHN JAMES & SONS, REDDITCH. MADE IN ENGLAND.". THERE IS ALSO A YELLOW PRICE TAG ON TOP THAT READS "CONSUMERS HARDWARE". EDGES OF OUTER PIECE ARE WORN. 2. NEEDLE. 0.6(H) X 16.0(L) X 0.7(W). LARGE STEEL NEEDLE. ONE END HAS A LARGE EYE THAT IS BROKEN IN ONE SPOT, AND HAS BEEN REINFORCED WITH SOLDER (BRASS COLOURED). OTHER END OF NEEDLE IS FLATTED, CURVES SLIGHTLY DOWNWARD AND COMES TO A SHARP POINT. 3. NEEDLE. 0.3(H) X 12.5(L) X 0.5(W). NEEDLE IS ROUND EXCEPT FOR A SPOT NEAR ONE END THAT IS FLATTENED. EMBOSSED ON ONE SIDE OF FLATTENED AREA IS "12 BOYE 12"; ON OPPOSITE SIDE IS "MADE IN U.S.A.". ONE END OF NEEDLE TAPERS TO A POINT. 4. NEEDLE. 0.2(H) X 11.7(L) X 0.4(W). NEEDLE IS ROUND EXCEPT FOR AN AREA NEAR ONE END THAT IS FLATTENED. EMBOSSED ON ONE SIDE OF FLATTENED AREA IS "MILWARD"; ON OPPOSITE SIDE IS "13 MADE IN ENGLAND 13". ONE END OF NEEDLE TAPERS TO A DULL POINT. 5. NEEDLE. 0.4(H) X 12.8(L) X 0.6(W). LARGE STEEL NEEDLE. ONE END HAS A LARGE EYE THAT IS BROKEN IN ONE PLACE. OPPOSITE END OF NEEDLE IS FLATTENED AND COMES TO A SHARP POINT. IMPRESSED INTO SIDE OF NEEDLE IS "BARR BROS.".
Subjects
TEXTILEWORKING T&E
Historical Association
AGRICULTURE
History
USED TO HAND SEW UP THE TOPS OF POTATO SACKS. ARTIFACTS CAME FROM FARM OWNED AND OPERATED BY DONOR AND HER HUSBAND, JAKE. JAKE DOGTEROM'S FATHER, JACOB, CAME TO LETHBRIDGE FROM HOLLAND IN 1912. IT WAS JACOB'S AMBITION TO BECOME A FARMER AND HE GAINED EXPERIENCE WORKING AT THE EXPERIMENTAL STATION AS WELL AS OTHER FARMS IN THE AREA. IN 1918 HE BOUGHT HIS FIRST QUARTER SECTION OF LAND, THE SE 1/4-25-8-21. JACOB MET HIS WIFE EMILY WHILE THEY WERE BOTH WORKING AT THE EXPERIMENTAL FARM AND THEY MARRIED IN 1929. TOGETHER THEY FARMED THE ORIGINAL QUARTER OF LAND UNTIL 1929, WHEN THEY PURCHASED A SECOND QUARTER SECTION ADJOINING THE FIRST. THEY GREW VARIOUS CROPS INCLUDING POTATOES, CORN, ONIONS AND WHEAT. JACOB AND EMILY CONTINUED TO LIVE ON THE FARM AFTER RETIRING. JACOB PASSED AWAY IN 1975, AT THE AGE OF 80, AND EMILY IN 1986 AT THE AGE OF 86. JACOB AND EMILY HAD 7 CHILDREN, ONE OF WHOM IS DONOR'S HUSBAND JAKE. JAKE GREW UP ON THE FARM AND AFTER ATTENDING WHITE SCHOOL FOR ONE YEAR HE TOOK UP FARMING WITH HIS FATHER. THEIR MAIN CROP WAS POTATOES, WITH CATTLE, HAY AND GRAIN. JAKE MARRIED IRMA ELLIS (DONOR) OF LETHBRIDGE IN 1950 AND TOGETHER THEY HAD 4 CHILDREN. IN 1967 JAKE'S YOUNGEST BROTHER RAYMOND AND HIMSELF FORMED A PARTNERSHIP, AND THEY CONTINUED TO FARM TOGETHER UNTIL 1994 WHEN JAKE SOLD HIS QUARTER OF THE LAND. JAKE AND IRMA MOVED OFF THE FARM INTO LETHBRIDGE IN 1988 BUT STILL RETAINED QUARTER SECTION AND CONTINUED TO WORK IT UNTIL 1994. JAKE'S BROTHER HAS RECENTLY SOLD THE FARM OUT OF THE DOGTEROM FAMILY, HENCE THE DONATION OF ARTIFACTS FROM THE FARM.
Catalogue Number
P20030016003
Acquisition Date
2003-07
Collection
Museum
Less detail
Other Name
“CRAFT SMART”
Date Range From
2012
Date Range To
2013
Material Type
Artifact
Materials
STEEL, PLASTIC
Catalogue Number
P20130030001
  1 image  
Material Type
Artifact
Other Name
“CRAFT SMART”
Date Range From
2012
Date Range To
2013
Materials
STEEL, PLASTIC
No. Pieces
1
Height
1
Length
21
Width
7.25
Description
STAINLESS STEEL SCISSORS WITH BLUE PLASTIC HANDLES. ONE BLADE IS STAMPED WITH TEXT READING “STAINLESS STEEL”; THE OTHER WITH TEXT READING “CRAFTSMART”. MINOR SPOTS OF DISCOLOURATION ON BLADES. OVERALL VERY GOOD CONDITION.
Subjects
TEXTILEWORKING T&E
CEREMONIAL ARTIFACT
Historical Association
LEISURE
COMMEMORATIVE
History
THESE SCISSORS WERE USED DURING THE RIBBON CUTTING CEREMONY CELEBRATING THE OPENING OF CASA, LETHBRIDGE’S COMMUNITY ARTS CENTRE, ON MAY 14, 2013, AT 230 8 ST SOUTH. ACCORDING TO CITY OF LETHBRIDGE RECREATION AND CULTURE DEVELOPMENT MANAGER LORI HARASEM, SEVEN REPRESENTATIVES HELPED CUT THE RIBBON: STEPHEN GRAHAM (ROTARY CLUBS OF LETHBRIDGE), KRIS HODGSON (PRESIDENT, ALLIED ARTS COUNCIL), GLENN MILLER (ASSISTANT TO LETHBRIDGE EAST MLA BRIDGET PASTOOR), DR. MIKE MAHON (PRESIDENT, UNIVERSITY OF LETHBRIDGE), MAYOR RAJKO DODIC, GREG WEADICK (LETHBRIDGE WEST MLA), AND JIM HILLYER (LETHBRIDGE MP). IN AN EMAIL TO COLLECTIONS TECHNICIAN KEVIN MACLEAN, HARASEM DESCRIBED THE DAY’S EVENTS, WRITING: “[THE CEREMONY], ORIGINALLY SCHEDULED TO TAKE PLACE ON THE ROTARY PLAZA ON THE EAST SIDE OF THE BUILDING, WAS MOVED INDOORS DUE TO THE STRONG WINDS THAT DAY. ONCE THE SPEECHES WERE DONE, AND THE RIBBON WAS CUT, THE BUILDING WAS OPEN FOR TOURS WITH ALL SPACES BEING UTILIZED BY ARTISANS TO DEMONSTRATE TO THE PUBLIC THE VARIETY OF ACTIVITIES THAT WILL TAKE PLACE IN THE FACILITY… THE RIBBON WAS IN MY POSSESSION AS I WAS PART OF THE PLANNING COMMITTEE [FOR THE OPENING CEREMONY]… ONCE THE RIBBON CUTTING WAS OVER, I ASSISTED WITH MOVING THE STANCHIONS AND RIBBONS OUT OF THE WALKWAY, AND REALIZED THE SIGNIFICANCE OF THE RIBBON… [I] SUGGESTED WE PROVIDE IT TO THE GALT MUSEUM.” THE FOLLOWING INFORMATION ABOUT CASA WAS EXCERPTED FROM THE ALLIED ARTS COUNCIL WEBSITE. CASA IS A COLLABORATIVE INITIATIVE OF THE ALLIED ARTS COUNCIL AND THE CITY OF LETHBRIDGE. THIS UNIQUE FACILITY SETS A NEW STANDARD FOR INTERDISCIPLINARY ARTS CENTRES, AND PROMOTES EXPERIMENTATION, INCUBATION, AND LEARNING. CASA WAS BUILT TO SERVE A MULTI-GENERATIONAL COMMUNITY, WITH VARYING ART SKILL SETS AND INTERESTS IN A VARIETY OF DISCIPLINES. FUNDING FOR THE 42,000 SQUARE FOOT CENTRE WAS PROVIDED BY THE FEDERAL BUILD CANADA FUND, THE ALBERTA MUNICIPAL SUSTAINABILITY INITIATIVE FUND, AND THE CITY OF LETHBRIDGE. IN ADDITION TO PROVIDING EDUCATIONAL ARTS PROGRAMMING, VISUAL ARTS STUDIOS AND TECHNICAL WORKSHOPS, PERFORMING ARTS SPACES, AND AN EXHIBITION GALLERY, CASA ALSO HOUSES THE UNIVERSITY OF LETHBRIDGE’S CONSERVATORY OF MUSIC. ON SEPTEMBER 9, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SUZANNE LINT, EXECUTIVE DIRECTOR OF THE ALLIED ARTS COUNCIL, ABOUT THE OPENING OF CASA AND THE FACILITY’S IMPACT ON THE COMMUNITY. LINT SAID: “IT WAS A PRETTY SIGNIFICANT DAY… YOU OPEN YOUR DOORS AND YOU EXPECTED TO HAVE PEOPLE BUT WE HAD THOUSANDS OF PEOPLE. THERE WERE ABOUT 3000 PEOPLE AND AS THAT RIBBON WAS CUT, THERE WERE PEOPLE ON THE STAIRWELLS AND PACKED IN EVERY HALLWAY AND HANGING OVER THE BALCONY LOOKING DOWN INTO THE FOYER WHERE THE ACTUAL RIBBON CUTTING OCCURRED. IT WAS PRETTY AWESOME, A PRETTY EXCITING DAY… IT’S THE FULL BREADTH OF THE ARTS ARE IN THAT BUILDING, AND THAT PRESENCE IS FABULOUS TO HAVE ALL OF THE DISCIPLINES INTERMIXING TOGETHER FOR THE COMMUNITY. IT’S HUGE. SO THAT RATHER INNOCUOUS PIECE OF RED SATIN RIBBON AND A PAIR OF RECEPTIONIST’S SCISSORS DON’T LOOK LIKE MUCH BUT THEY ARE PART OF THE OPENING OF SOMETHING THAT IS PRETTY SIGNIFICANT.” LINT CONTINUED: “WE WAITED A LONG TIME FOR A BUILDING LIKE THAT… A PURPOSE-BUILT CIVIC ARTS CENTRE FOR CREATING ARTWORK IN MANY DISCIPLINES, WHICH IS ALMOST NOT HEARD OF. I DON’T THINK ANYTHING LIKE IT EXISTS OFF A UNIVERSITY OR COLLEGE CAMPUS… IT IS A PROJECT THAT THE ARTS COMMUNITY [IN LETHBRIDGE] HAS WORKED ON FOR 20 – 30 YEARS… WE HAVE ENGAGED A WHOLE NEW COMMUNITY THAT WASN’T REALLY ACTIVE OR PARTICIPATING AT THE BOWMAN ARTS CENTRE… THE BOWMAN, WHICH SERVED THE COMMUNITY AMAZINGLY WELL, [WAS] REALLY BUILT ON A MODEL OF ORGANIZATIONAL PRIORITIES AND SPACES, [WHEREAS CASA] WAS DESIGNED TO BE AN OPEN CONCEPT AND REALLY INCLUSIVE SO THAT INDIVIDUAL ARTISTS AND OTHER DISCIPLINES WOULD HAVE AN OPPORTUNITY TO PARTICIPATE IN THE BUILDING… ANYBODY CAN COME… YOU TAKE YOUR MEMBERSHIP AND YOU CAN COME IN AND WORK… THIS BUILDING IS BUSY, WITH NEW GROUPS AND INDIVIDUAL ARTIST AND IT’S ALSO ATTRACTING PEOPLE FROM AWAY… WE’RE SEEING A DIVERSITY OF PROGRAMMING THAT WE DIDN’T HAVE BEFORE; THE VERY NATURE OF THE BUILDING WE HAVE THE COMMUNITY ROOM WHICH ALLOWS FOR CERTAIN THINGS TO HAPPEN, THERE’S THE DANCE STUDIO, VISUAL ARTS STUDIOS AND ALL THE SPACES FOR MUSIC… WE’RE SEEING PEOPLE WHO WEREN’T ENGAGED IN THE GENERAL COMMUNITY BECOMING ENGAGED. WE’VE GOT A WHOLE BRAND NEW GROUP OF ARTISTS AND MUCH BROADER DEMOGRAPHIC GROUP OF ARTISTS FROM ALL AGES COMING IN… WE’RE OFFERING MORE COMMUNITY DEVELOPMENT OPPORTUNITIES. THE BOWMAN HAD THE CLASSES FOR ADULTS WITH SPECIAL NEEDS BUT WE ARE NOW DOING SOME WORK WITH HOUSING FIRST CLIENTS WHO ARE TRANSITIONING. WE’VE GOT A RELATIONSHIP AND SOME FUNDING FROM ATB THAT IS ALLOWING US TO TRY AND BUILD SOME FIRST NATIONS PROGRAMING… ARTISTS ARE DEVELOPING PROGRAMS AND WE ARE FACILITATING THEM AND DELIVERING THEM. SO IT’S REALLY GRASSROOTS… IT’S A MUCH BIGGER COMMUNITY. NOT JUST THE SIXTY PEOPLE THAT USED TO BE BOWMAN ATTENDERS. [NOW] THERE’S 100,000 PEOPLE [WHO] VISITED THE BUILDING IN ITS FIRST YEAR OF OPERATION.” LINT CONCLUDED: “THAT BUILDING, SEEING IT RISE AND THE NATURE OF WHAT IT IS, IS PROBABLY ONE OF THE MOST IMPORTANT PIECES OF WORK THAT I’VE WORKED ON, BUT IT ALSO REPRESENTS A TIME IN HISTORY WHERE THERE WAS THIS SERENDIPITOUS GROUP OF PEOPLE WHO WORKED TOGETHER AROUND AN IDEA. SO THE COUNCIL WAS RIPE, THE CITY ADMINISTRATION WAS RIPE. WE HAD A FABULOUS BOARD THAT REALLY WENT TO THE WALL AROUND ARTS IN THIS COMMUNITY ENSURING THAT THEY SURVIVED… I THINK THAT’S THE KIND OF COMMUNITY IT IS. I THINK WE’RE ISOLATED ENOUGH THAT WE DO SOME FAIRLY CRAZY AND WILD THINGS. WE CAN BE PRETTY INVENTIVE AND PROGRESSIVE. THERE’S A REAL COMPONENT OF THAT AND A CREATIVE KIND OF COMMUNITY WHICH WE ARE VERY FORTUNATE TO LIVE IN. THE INTERESTING THING IS THAT IT IS SURROUNDED BY THE MOST SOCIALLY CONSERVATIVE PEOPLE. SO IT SOMETIMES FEELS TO ME LIKE A SPLIT COMMUNITY, [BUT] THERE IS THIS REALLY STRONG PROGRESSIVE, CREATIVE, INTUITIVE GROUP OF PEOPLE THAT ARE HERE, LOVE IT, AND CONTINUE TO BE HERE.” ON OCTOBER 8, 2015 MACLEAN INTERVIEWED CAROL THIBERT, FORMER CITY OF LETHBRIDGE COMMUNITY SERVICES PROGRAM CO-ORDINATOR. THIBERT WAS THE CITY LIAISON TO THE ALLIED ARTS COUNCIL DURING THE PLANNING, CONSTRUCTION, AND OPENING OF CASA. THIBERT SAID: “PART OF MY JOB WAS ORGANIZING THE OPENING CEREMONIES… [THE RIBBON CUTTING] WAS EXTREMELY WELL RECEIVED. THE COMMUNITY WAS VERY, VERY EXCITED. IT WAS FULL – THE MEZZANINE, THE MAIN AREA, AND PEOPLE LOOKING DOWN… THE DIFFERENT LEVELS OF GOVERNMENT WERE THERE TO SPEAK, SO IT WAS A GALA AFFAIR… IT WAS A LONG TIME COMING. I WAS ON THE COMMITTEE THAT STARTED LOOKING INTO WHAT A COMMUNITY ARTS CENTRE WOULD LOOK [LIKE]. WE WENT TO CALGARY AND EDMONTON AND DID TOURS OF [THEIR] FACILITIES, AND [CASA] IS ONE OF THE MOST BEAUTIFUL, AMAZING, FORWARD-THINKING COMMUNITY ART CENTRES IN OUR PROVINCE, MAYBE EVEN IN CANADA. SO IT’S SOMETHING TO BE VERY PROUD OF.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND HARDCOPIES OF NEWSPAPER ARTICLES AND PRESS RELEASES ABOUT CASA.
Catalogue Number
P20130030001
Acquisition Date
2013-07
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
1990
Material Type
Artifact
Materials
PLASTIC, STEEL
Catalogue Number
P19950073027
Material Type
Artifact
Date Range From
1960
Date Range To
1990
Materials
PLASTIC, STEEL
No. Pieces
2
Length
10.3
Width
2.3
Description
ORANGE PLASTIC SCISSORS HAVE OVAL SHAPED HANDLES WITH TWO CURVED PIECES MISSING SIDE-BY-SIDE ALONG TOP RIGHT CORNER. ARE TWO HANDLES THE SAME HELD TOGETHER BY 2 STEEL PINS. ONE HANDLE PIN FITS THROUGH RECTANGULAR SLOT SO HANDLES CAN BE SLID OPEN AND SHUT TO CUT. FURTHEST GROOVE IN HANDLE TOWARDS BLADE HAS GRIP GROOVES ALONG EDGE. STEEL BLADES ARE HELD TO HANDLES BY ORANGE PEGS. WHEN CLOSED BLADES ARE TRIANGULAR IN SHAPE, HAVE SLOPED SHARP EDGES AND POINTED ENDS. WHEN CLOSED BLADES FIT INTO HOLLOW CUBE WITH ONE OPEN END TO MAKE COVER. MINOR SCRATCHING OF PLASTIC. MINOR SOILING OF BLADE.
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
History
*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
P19950073027
Acquisition Date
1995-11
Collection
Museum
Less detail
Other Name
LINGERIE BRAID
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
PAPER, SYNTHETIC FABRIC
Catalogue Number
P19980057007
Material Type
Artifact
Other Name
LINGERIE BRAID
Date Range From
1900
Date Range To
1910
Materials
PAPER, SYNTHETIC FABRIC
No. Pieces
1
Height
0.3
Length
10.4
Width
7.2
Description
FLAT CARDBOARD SPOOL, WRAPPED IN FLAT WHITE WOVEN CORD. PAPER LABEL AROUND WIDTH OF SPOOL, WITH GOLD TRIM AND PRINT READING "ARTIFICIAL SILK LINGERIE BRAID 12 YDS. ART 122 COL WHITE MADE IN ENGLAND". SMALL TEAR IN SIDE OF LABEL.
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
History
BELONGED TO DONOR'S AUNT, MAMIE GIBSON. BROUGHT WITH HER TO LETHBRIDGE FROM ENGLAND, AROUND 1908-1910. SEE ALSO P19980057001-GA. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A STOLE DONATED BY DORIS BALCOVSKE. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. DORIS BALCOVSKE (NEE GIBSON) IS THE DAUGHTER OF CHRISTIAN GIBSON AND LINDA VICTORIA GIBSON (MAIDEN NAME UNKNOWN). LINDA VICTORIA GIBSON (MAIDEN NAME UNKNOWN) WAS BORN IN SOMERSETSHIRE, ENGLAND ON SEPTEMBER 5, 1886 AND WAS MARRIED IN EDINBURGH, SCOTLAND ON JUNE 29, 1918 TO CHRISTIAN GIBSON. SHE MOVED TO LETHBRIDGE IN SEPTEMBER 1919. ACCORDING TO HER OBITUARY, LINDA WAS INVOLVED IN NUMEROUS ORGANIZATIONS THROUGHOUT LETHBRIDGE INCLUDING: “THE MAJOR JACK ROSS CHAPTER OF THE IODE, PAST REGENT OF THE MUNICIPAL CHAPTER OF THE IODE, A FORMER MEMBER OF THE EASTERN STAR, A FORMER MEMBER OF LOBA, AN HONOURARY MEMBER OF THE BETA SIGMA PHI SOCIETY, A MEMBER OF THE LOCAL COUNCIL OF GIRL GUIDES, CANADIAN RED CROSS, AND ST. AUGUSTINE’S WA.” LINDA PASSED AWAY AT THE AGE OF 78 IN AUGUST 1965. CHRISTIAN “CHRIS” GIBSON WAS BORN IN BELFAST, IRELAND IN 1887, WAS RAISED AND EDUCATED IN THE LONDON, ENGLAND AREA, AND ARRIVED IN LETHBRIDGE, AB IN JUNE 1908. HE HELD A NUMBER OF POSITIONS AFTER HIS ARRIVAL IN THE CITY, INCLUDING: DISTRICT CLERK FOR ALBERTA RAILWAYS AND IRRIGATION COMPANY; MANAGER OF FAIR GROUNDS FOR THE WORLD DRY FARMING CONGRESS IN 1912; OPERATOR OF THE CITY ZOO; A POSITION WITH THE WEIGHTS AND MEASURES OFFICE, WHICH INVOLVED TESTING SCALES AND GASOLINE PUMPS THROUGHOUT THE SOUTH. UPON HIS ARRIVAL IN THE CITY, CHRIS ALSO JOINED THE MILITIA AND IN 1914 ENLISTED WITH THE 20TH BATTERY, CANADIAN FIELD ARTILLERY. HE SERVED FOR 5 YEARS AS PAYMASTER, EVENTUALLY REACHING THE RANK OF CAPTAIN. IN 1930, CHRIS RECEIVED THE VICTORIA DECORATION, FOR LONG SERVICE AS AN OFFICER. CHRIS AND LINDA WERE BOTH HEAVILY INVOLVED IN THE LETHBRIDGE BRANCH OF THE RED CROSS. CHRIS PASSED AWAY AT THE AGE OF 83 ON MARCH 26, 1971. HE WAS SURVIVED BY HIS SISTER, MAMIE GRACE ELLEN GIBSON. MAMIE GRACE ELLEN GIBSON WAS BORN IN THE COUNTY OF SURREY, ENGLAND ON JULY 29, 1892, THE ONLY DAUGHTER OF JOHN ANDREW AITKEN GIBSON AND LOUISA MARIA GIBSON (MAIDEN NAME UNKNOWN). IN 1910, SHE MOVED WITH HER PARENTS AND HER BROTHER FRED TO JOIN HER OTHER BROTHER CHRISTIAN. HER FATHER PASSED AWAY IN 1912 AND HER MOTHER IN 1943. MAMIE PASSED AT THE AGE OF 102 ON NOVEMBER 11, 1994. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING A PURSE AND HAIR ORNAMENTS DONATED BY DORIS BALCOVSKE. CONNECTIONS MADE WITH THE NEXT-OF-KIN TO ACQUIRE FURTHER ARTIFACT-SPECIFIC INFORMATION WERE UNSUCCESSFUL. DORIS BALCOVSKE'S OBITUARY WAS FOUND ON THE CORNERSTONE FUNERAL HOME'S WEBPAGE. IT STATES THAT SHE WAS BORN IN LETHBRIDGE IN 1923. SHE WORKED FOR THE BANK OF MONTREAL FOLLOWING HIGH SCHOOL. SHE THEN WENT ON TO BECOME THE PROPRIETOR OF MARGO LADIES WEAR THROUGH THE 1950'S. SHE MARRIED HERB BALCOVSKE AND TOGETHER THEY HAD SANDRA BALCOVSKE AND MARCIA TAYLOR. DORIS PASSED AWAY ON 14 SEPTEMBER 2016 AT THE AGE OF 92 YEARS. PLEASE SEE PERMANENT FILE P19980051003 FOR FULL OBITUARY.
Catalogue Number
P19980057007
Acquisition Date
1999-07
Collection
Museum
Less detail

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