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Other Name
COUNTED CROSS STITCH HANGING
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P19940007003
Material Type
Artifact
Other Name
COUNTED CROSS STITCH HANGING
Date Range From
1930
Date Range To
1940
Materials
WOOL, COTTON
No. Pieces
1
Length
190
Width
67.5
Description
COUNTED CROSS-STITCH TAPESTRY IS RECTANGULAR IN SHAPE WITH WOOL STITCHING. BACKGROUND IS LIGHT BROWN AND HAS RED, BLUE, YELLOW AND WHITE FLOWERS WITH THREE BIRDS AT EACH END. A GREEN LEAF AND VINE BORDER WITH SMALLER FLOWERS SURROUNDS BIRDS AND BIGGER FLOWERS EXCEPT ALONG BOTTOM EDGE. WOOL IS STITCHED TO COTTON BACKING. SEWN ALONG EDGES IS 2.4CM WIDE WHITE COTTON EDGING. REVERSE HAS WOOL STRANDS FROM STITCHING. EDGING AND TAPESTRY HAVE A NUMBER OF SMALL STAINS AND TAPESTRY HAS BEEN REPAIRED NEAR ONE END WITH SINGLE LOOP STITCH IN BLACK AND WHITE THREAD. STITCHING IS LOOSE ALONG EDGE AS WELL.
Subjects
ART
Historical Association
DOMESTIC
DECORATIVE ARTS
History
TAPESTRY WAS MADE BY DONOR'S FAMILY TO BE USE ON THE HEADBOARD OF A BED FOR INSULATION AGAINST THE COLD. CURTAIN WAS MADE IN THE 1930'S.
Catalogue Number
P19940007003
Acquisition Date
1994-01
Collection
Museum
Less detail
Other Name
SHOYU JAR
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
PORCELAIN
Catalogue Number
P19970041095
Material Type
Artifact
Other Name
SHOYU JAR
Date Range From
1930
Date Range To
1940
Materials
PORCELAIN
No. Pieces
3
Height
45.5
Length
11.5
Width
8
Description
.1) SMALL WHITE PORCELAIN TEAPOT HAS BLUE FLOWER MOTIF WITH RED BERRIES WHICH HAVE GOLD COLORED CORONAS. CIRCULAR LID HAS IDENTICAL MOTIF. .2) STAND. 8.5CM (D) X 1.5CM WHITE PORCELAIN PLATE WITH BLUE FLOWER MOTIF WITH RED BERRIES WHICH HAVE GOLD COLORED CORONAS. SOME BERRIES ARE WORN OFF AND THE PLATE HAS TEN SUBSTANTIAL CHIPS, INCLUDING ONE LARGE ONE.
Subjects
ART
Historical Association
DOMESTIC
FINE ARTS
History
TEAPOT, OR SHOYU JAR, WAS OWNED BY THE NAKAYAMA FAMILY WHILE LIVING IN VANCOUVER PRIOR TO THE SECOND WORLD WAR. FROM 1942 TO 1945 THE FAMILY WAS INTERNED IN SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA. FOLLOWING THE WAR THE NAKAYAMA FAMILY MOVED TO COALDALE, ALBERTA. AT COALDALE REV. NAKAYAMA FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION WHERE HE WAS RECTOR FROM 1945 TO 1970. FROM AUGUST 29 TO 31, 2011 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, JOY KOGAWA, ABOUT HER MEMORIES ASSOCIATED WITH SPECIFIC OBJECTS THAT SHE DONATED IN 1997. OF THIS ARTIFACT, KOGAWA SAID: “[A] LITTLE SHOYU BOTTLE… I DON’T KNOW IF [MY MOTHER] BOUGHT THIS IN VANCOUVER OR IF IT CAME FROM JAPAN… IT WAS ALWAYS WITH US FROM THE VERY EARLIEST DAYS, ALL THE WAY THROUGH, RIGHT TO THE END… IT WASN’T JUST FOR SPECIAL OCCASIONS, IT WAS IN CONSTANT USE… WE NEVER PUT [SOY SAUCE] ON RICE. WE PUT IT ON OKAZU… THE STUFF THAT YOU COOK TO EAT WITH THE RICE, WHICH IS MEAT AND VEGETABLES OR FISH… I FEEL HAPPINESS WITH IT, BECAUSE IT WAS PRETTY AND PRACTICAL AND CONSTANT.” SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041095
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
PIANO ORNAMENT
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
GLASS
Catalogue Number
P20020071009
Material Type
Artifact
Other Name
PIANO ORNAMENT
Date Range From
1930
Date Range To
1950
Materials
GLASS
No. Pieces
1
Height
7.0
Length
7.7
Width
4.3
Description
TRANSLUCENT GREEN GLASS MOLDED IN THE SHAPE OF AN UPRIGHT PIANO. THERE ARE SMALL LINES IMPRESSED INTO GLASS TO IMITATE KEYS. BACK OF ORNAMENT IS HOLLOW. THERE ARE MULTIPLE CHIPS ON CORNERS AND EDGES OF ORNAMENT. THERE ARE TWO LARGE SCRATCHES/CRACKS ON INSIDE OF PIECE. THERE ARE REMNANTS OF BROWN PAINT? AROUND EDGE ON BACK OF PIECE.
Subjects
ART
Historical Association
DOMESTIC
History
DONOR'S FATHER COLLECTED ORNAMENT FROM THE CAPITOL THEATRE IN LETHBRIDGE WHEN IT WAS DECORATED WITH FANCY PLASTER WORK AND PAINTED PLASTER CEILING SOMETIME IN THE 1930S. DONOR'S FATHER, HARRY HUGH BENNETT, WAS BORN IN MEDICINE HAT TO MICHAEL JOHN AND ALICE MAY BENNETT. THE FAMILY MOVED TO LETHBRIDGE ABOUT 1919. THEY THEN MOVED TO SHAUGHNESSY IN 1927 WHERE HARRY'S FATHER WORKED AS A CARPENTER. HARRY JOINED THE CANADIAN ARMED FORCES MEDICAL CORP FROM CALGARY, AND LATER TRANSFERRED TO A VEHICLE MAINTENANCE DIVISION. HE WAS DISCHARGED AT THE END OF WORLD WAR 2 HAVING ACHIEVED THE RANK OF PRIVATE. HARRY WORKED AS A CONDUCTOR ON THE FREIGHT TRAINS FOR THE CPR, AND WHEN HE RETIRED HE WAS A COMMISSIONAIRE IN LETHBRIDGE. DONOR'S PARENTS LIVED ON 13 ST. SOUTH IN LETHBRIDGE.
Catalogue Number
P20020071009
Acquisition Date
2003-05
Collection
Museum
Less detail
Other Name
KEY HOOK
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PLASTER OF PARIS
Catalogue Number
P19990009033
Material Type
Artifact
Other Name
KEY HOOK
Date Range From
1940
Date Range To
1950
Materials
PLASTER OF PARIS
No. Pieces
1
Height
3.6
Length
19.8
Width
11.7
Description
CERAMIC WALL ORNAMENT. HOUSE W/ RED PEAKED ROOF; YELLOW & BLACK BIRD STANDING AT DOOR. YELLOW CHIMNEY. TWO HOOKS AT BOTTOM, FOR HANGING KEYS. REVERSE UNPAINTED; STICKER READS "GENUINE HAND PAINTED DEVON WARE BY KAHANE COPYRIGHT MADE IN CANADA". HOOK SET INTO CERAMIC AT TOP; WHITE STRING FOR HANGING. ORNAMENT HAS BEEN BROKEN INTO SEVERAL PIECES AND REPAIRED WITH GLUE.
Subjects
ART
Historical Association
DOMESTIC
History
LEFT IN ONE OF HOMES OWNED BY DONOR'S FATHER'S COMPANY. HUNG IN DONOR'S HOME, AND WAS DAMAGED WHILE IN POSSESSION OF FAMILY. FOR MORE HISTORY SEE P19990009001-GA. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT SURVEY, WHICH INCLUDED A NUMBER OF ARTIFACTS DONATED BY ARTHUR AND LOIS DUFF. CONTACT MADE WITH THE DONOR’S SON DID NOT YIELD FURTHER INFORMATION. ARCHIVAL RESEARCH INCLUDED LETHBRIDGE HERALD OBITUARIES FOR BOTH ARTHUR AND LOIS. ARTHUR DUFF WAS BORN AND RAISED IN STORMONT COUNTY, ONTARIO. HE MOVED WEST TO CRANBROOK IN 1907 BEFORE GOING OVERSEAS TO SERVE IN WORLD WAR I. UPON HIS RETURN, HE FARMED IN SANGUDO, ALBERTA BEFORE MOVING BACK TO CRANBROOK IN 1921. IN 1928, HE MOVED TO LETHBRIDGE, WHERE HE WAS EMPLOYED BY BECKER LUMBER COMPANY. HE WAS MARRIED TO LOIS JUNE DUFF (NEE CORNWALL). ACCORDING TO LOIS DUFF’S LETHBRIDGE HERALD OBITUARY, SHE WAS BORN IN MOINES, IOWA ON JUNE 26, 1904. THE FAMILY MOVED TO A FARM EAST OF MILK RIVER, ALBERTA IN 1908, THEN MOVING TO LETHBRIDGE 1919. SHE LIVED IN THE CITY FOR THE REST OF HER LIFE. THE CORNWALL FAMILY HISTORY SHE CONTRIBUTED IN THE PIONEER PEMMICAN CLUB ROUNDUP HISTORY BOOK (PUBLISHED IN 1984) STATES, “MY PARENTS, HERBERT AND ELLA CORNWALL AND THEIR FIVE CHILDREN – BERNICE, BEATRICE, BARTLEY, GERTRUDE, AND I (LOIS JUNE) CAME FROM DES MOINES TO WARNER IN NOVEMBER 1908. DAD AND BARTLEY FILED ON HOMESTEADS TEN MILES EAST OF MILK RIVER. THE FAMILY MOVED TO THE FARM IN THE SPRING OF 1910. I CAN REMEMBER SEEING BUFFALO BONES AND THOSE RANGE CATTLE SCATTERED OVER THE PRAIRIE.” THE NARRATIVE CONTINUED, “ON THE FARM WE HAD A LARGE TWO AND A HALF STOREY HOUSE WHICH SERVED AS A STOPPING PLACE FOR PEOPLE LIVING IN THE LUCKY STRIKE AND KIPPENVILLE AREAS BEFORE THE RAILROAD WAS BUILT TO FOREMOST AND MANYBERRIES. IT TOOK MEN FROM THOSE AREAS A DAY TO REACH OUR PLACE WITH A TEAM OF HORSES. THEY WOULD GO TO MILK RIVER AND BACK TO OUR PLACE THE SECOND DAY, THEN LEAVE FOR HOME THE THIRD DAY. WHAT A RELIEF IT WAS FOR THEM WHEN THE RAILROAD WAS BUILT!” “SLEEPY HOLLOW SCHOOL WAS BUILT IN 1912 AND, LIKE ALL SUCH STRUCTURES SERVED ALSO CHURCH SERVICES, MEETINGS AND ENTERTAINMENT. GRADES ONE TO TEN WERE TAUGHT IN THIS SCHOOL. IN THE FALL OF 1919 DAD, MOTHER AND I MOVED TO LETHBRIDGE SO THAT I COULD CONTINUE MY HIGH SCHOOL EDUCATION AND ATTEND GARBUTT BUSINESS COLLEGE. I WORKED IN THE OFFICES OF RYLAND’S LADIES WEAR AND THE BECKER LUMBER COMPANY… I MARRIED ARTHUR DUFF IN 1934. OUR SON GRANT WAS BORN IN 1936.” ARTHUR DUFF PASSED AWAY IN LETHBRIDGE ON SEPTEMBER 15, 1976 AT THE AGE OF 85 YEARS. LOIS DUFF PASSED AWAY ON MARCH 18, 2004 AT THE AGE OF 99 YEARS. PLEASE SEE PERMANENT FILE P19738475000 FOR MORE INFORMATION, INCLUDING THE COPIES OF ARCHIVAL RESEARCH.
Catalogue Number
P19990009033
Acquisition Date
1999-02
Collection
Museum
Less detail
Other Name
THREE SETS
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PLASTER
Catalogue Number
P19990009073
Material Type
Artifact
Other Name
THREE SETS
Date Range From
1940
Date Range To
1950
Materials
PLASTER
No. Pieces
6
Description
1-2. SET SHAKERS; 2 PIECES. 8.6CM (H) X 7.5CM (L) X 3.5CM (W). SET OF TWO PLASTER DUCKS WITH HOLES IN BACKS FOR SALT AND PEPPER; CORKS IN BASE. ONE DUCK IS YELLOW, AND THE OTHER LIGHT BROWN; BLUE BEAKS AND FEET. DUCKS ARE STANDING ON SHORT LOG. BOTTOMS STAMPED "JAPAN"; HANDWRITTEN "85". 3-4. SET SHAKERS; 2 PIECES. 6.6CM (H) X 7.9CM (L) X 3.3CM (W). SET OF TWO PLASTER DUCKS WITH HOLES IN BACKS FOR SALT AND PEPPER. CORK IN ONE BASE; OTHER MISSING. DUCKS ARE RING-NECKED MALLARDS; GREEN HEADS AND GREY BODIES. STAMPED ON BOTTOMS IS "JAPAN". 5. ORNAMENT. 11.2CM (H) X 10.5CM (L) X 4.8CM (W). PLASTER ORNAMENT. RING-NECK MALLARD WITH GREEN HEAD AND GREY BODY; STANDING ON YELLOW BASE. HOLE IN BOTTOM; STAMPED "JAPAN". 6. ORNAMENT. 14.2CM (H) X 16.5CM (L) X 6.8CM (W). PLASTER ORNAMENT. BLACK DUCK WITH PALE YELLOW UNDERBELLY. STANDS ON YELLOW BASE WITH SMALL TREE STUMP AND CATTAIL. STICKER ON BOTTOM WITH "1.65".
Subjects
FOOD PROCESSING T&E
ART
Historical Association
DOMESTIC
LEISURE
History
SEE P19990009001-GA FOR HISTORY. ACCORDING TO GRANT, ONE OF LOIS'S COUSINS COLLECTED SALT & PEPPER SHAKERS AND DISTRIBUTED THE EXTRAS AS BIRTHDAY, ETC. PRESENTS. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT SURVEY, WHICH INCLUDED A NUMBER OF ARTIFACTS DONATED BY ARTHUR AND LOIS DUFF. CONTACT MADE WITH THE DONOR’S SON DID NOT YIELD FURTHER INFORMATION. ARCHIVAL RESEARCH INCLUDED LETHBRIDGE HERALD OBITUARIES FOR BOTH ARTHUR AND LOIS. ARTHUR DUFF WAS BORN AND RAISED IN STORMONT COUNTY, ONTARIO. HE MOVED WEST TO CRANBROOK IN 1907 BEFORE GOING OVERSEAS TO SERVE IN WORLD WAR I. UPON HIS RETURN, HE FARMED IN SANGUDO, ALBERTA BEFORE MOVING BACK TO CRANBROOK IN 1921. IN 1928, HE MOVED TO LETHBRIDGE, WHERE HE WAS EMPLOYED BY BECKER LUMBER COMPANY. HE WAS MARRIED TO LOIS JUNE DUFF (NEE CORNWALL). ACCORDING TO LOIS DUFF’S LETHBRIDGE HERALD OBITUARY, SHE WAS BORN IN MOINES, IOWA ON JUNE 26, 1904. THE FAMILY MOVED TO A FARM EAST OF MILK RIVER, ALBERTA IN 1908, THEN MOVING TO LETHBRIDGE 1919. SHE LIVED IN THE CITY FOR THE REST OF HER LIFE. THE CORNWALL FAMILY HISTORY SHE CONTRIBUTED IN THE PIONEER PEMMICAN CLUB ROUNDUP HISTORY BOOK (PUBLISHED IN 1984) STATES, “MY PARENTS, HERBERT AND ELLA CORNWALL AND THEIR FIVE CHILDREN – BERNICE, BEATRICE, BARTLEY, GERTRUDE, AND I (LOIS JUNE) CAME FROM DES MOINES TO WARNER IN NOVEMBER 1908. DAD AND BARTLEY FILED ON HOMESTEADS TEN MILES EAST OF MILK RIVER. THE FAMILY MOVED TO THE FARM IN THE SPRING OF 1910. I CAN REMEMBER SEEING BUFFALO BONES AND THOSE RANGE CATTLE SCATTERED OVER THE PRAIRIE.” THE NARRATIVE CONTINUED, “ON THE FARM WE HAD A LARGE TWO AND A HALF STOREY HOUSE WHICH SERVED AS A STOPPING PLACE FOR PEOPLE LIVING IN THE LUCKY STRIKE AND KIPPENVILLE AREAS BEFORE THE RAILROAD WAS BUILT TO FOREMOST AND MANYBERRIES. IT TOOK MEN FROM THOSE AREAS A DAY TO REACH OUR PLACE WITH A TEAM OF HORSES. THEY WOULD GO TO MILK RIVER AND BACK TO OUR PLACE THE SECOND DAY, THEN LEAVE FOR HOME THE THIRD DAY. WHAT A RELIEF IT WAS FOR THEM WHEN THE RAILROAD WAS BUILT!” “SLEEPY HOLLOW SCHOOL WAS BUILT IN 1912 AND, LIKE ALL SUCH STRUCTURES SERVED ALSO CHURCH SERVICES, MEETINGS AND ENTERTAINMENT. GRADES ONE TO TEN WERE TAUGHT IN THIS SCHOOL. IN THE FALL OF 1919 DAD, MOTHER AND I MOVED TO LETHBRIDGE SO THAT I COULD CONTINUE MY HIGH SCHOOL EDUCATION AND ATTEND GARBUTT BUSINESS COLLEGE. I WORKED IN THE OFFICES OF RYLAND’S LADIES WEAR AND THE BECKER LUMBER COMPANY… I MARRIED ARTHUR DUFF IN 1934. OUR SON GRANT WAS BORN IN 1936.” ARTHUR DUFF PASSED AWAY IN LETHBRIDGE ON SEPTEMBER 15, 1976 AT THE AGE OF 85 YEARS. LOIS DUFF PASSED AWAY ON MARCH 18, 2004 AT THE AGE OF 99 YEARS. PLEASE SEE PERMANENT FILE P19738475000 FOR MORE INFORMATION, INCLUDING THE COPIES OF ARCHIVAL RESEARCH.
Catalogue Number
P19990009073
Acquisition Date
1999-02
Collection
Museum
Less detail
Other Name
NEEDLE CASKET
Date Range From
1830
Date Range To
1953
Material Type
Artifact
Materials
TORTISESHELL, IVORY, SILVER
Catalogue Number
P20090016033
  1 image  
Material Type
Artifact
Other Name
NEEDLE CASKET
Date Range From
1830
Date Range To
1953
Materials
TORTISESHELL, IVORY, SILVER
No. Pieces
2
Height
3.1
Length
6.0
Width
3.5
Description
1. CHEST, TORTOISESHELL VENEER. ROUND SILVER BUTTON CAN BE PUSHED IN ORDER TO OPEN CHEST. THREE, ROUND IVORY FEET ON BOTTOM, ONE MISSING. SILVER BANNER ON TOP OF CHEST MARKED, “FM” IN CURSIVE. BACK, PROPER LEFT, BOTTOM CORNER, FRONT, PROPER RIGHT CORNER AND BACK PROPER RIGHT TOP CORNER ARE CHIPPED. INSIDE OF CHEST LINED WITH BLUE, FLORAL DAMASK. 3.1 CM HIGH BY 6.0 CM LONG BY 3.5 CM WIDE. 2. CHARM. AGATE HEART,TRANPARENT BROWN, BLACK, AND WHITE STRIPED. AGATE ANCHOR MISSING ONE ARM, TRANSPARENT ORANGE AND RED SWIRLS. CHARMS CONNECTED BY THREE METAL LOOPS. 0.5 CM HIGH BY 3.6 CM LONG BY 2.1 CM WIDE.
Subjects
PERSONAL GEAR
Historical Association
DOMESTIC
DECORATIVE ARTS
History
ACCORDING TO DAVE MERESKI, A LOCAL GOLDSMITH, THE METHOD OF DRILLING HOLES AND LINKING THE CHARM TOGETHER WOULD DATE IT SOME TIME AFTER 1920. FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016033
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
CLOTH, GLASS BEADS
Catalogue Number
P19900009003
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
CLOTH, GLASS BEADS
No. Pieces
1
Length
49
Width
47.2
Description
BEADED CLOTH CUSHION COVER. STYLISED FLORAL DESIGNS ALONG EACH SIDE (MARGIN) IN CENTRE. 1 SIDE ONLY BEADED. OPENING ON 1 END FOR CUSHION.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
DECORATIVE ARTS
History
GIVEN TO DONOR BY STEP-FATHER IN MID 1940'S FOLLOWING HIS MARRIAGE TO HER MOTHER IN 1943. DONOR'S MOTHER MARRIED T.R. NICHOLLS FORMER CITY OF LETHBRIDGE POLICE CHIEF. DONOR BELIEVES NICHOLLS ACQUIRED WHEN HE WAS WITH CITY POLICE OR EARLIER AS MEMBER OF ROYAL NORTH WEST MOUNTED POLICE (ROYAL CANADIAN MOUNTED POLICE) & ARTIFACT MADE BY MEMBER OF BLOOD TRIBE OF SOUTHERN ALBERTA.
Catalogue Number
P19900009003
Acquisition Date
1990-03
Collection
Museum
Images
Less detail
Other Name
FRAMED EMBROIDERED TEXTILE
Date Range From
1948
Date Range To
1997
Material Type
Artifact
Materials
COTTON, WOOD, GLASS
Catalogue Number
P20100011000
Material Type
Artifact
Other Name
FRAMED EMBROIDERED TEXTILE
Date Range From
1948
Date Range To
1997
Materials
COTTON, WOOD, GLASS
No. Pieces
1
Height
2.1
Length
21.5
Width
31.7
Description
TEXTILE, WALL HANGING – WOODEN FRAME WITH TWO ROD SHAPED HANDLES ON CENTRE OF SHORTER SIDES OF FRAME, CREAM COLORED COTTON FOUNDATION FABRIC EMBROIDERED WITH THREE BANDS OF GEOMETRIC DESIGNS IN ORANGE, RED, BLACK AND WHITE.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DECORATIVE ARTS
DOMESTIC
History
ACCORDING TO DONOR FRANK BARTOSEK IN AN INTERVIEW WITH NICOLE HEMBROFF, COLLECTIONS ASSISTANT, ON JUNE 24, 2010, THE HANGING WAS A GIFT FROM HIS SISTER MARIA CHUDIK. BARTOSEK RECEIVED IT FROM HER WHEN HE AND HIS WIFE WENT BACK TO CZECHOSLOVAKIA IN 1997 TO SEE WHERE HE WAS BORN AND TO VISIT HIS SISTER (CHUDIK). CHUDIK GAVE THE HANGING TO BARTOSEK JUST AS HE WAS LEAVING, THUS HE DID NOT HAVE TIME TO ASK QUESTIONS WITH REGARD TO THE TEXTILE. DONOR DID NOT KNOW WHO HAD MADE THE PIECE. HE DID NOT KNOW IF THE DESIGN HELD A SPECIFIC MEANING. BARTOSEK SAID HIS "PARENTS' GENERATION WASN'T TOO FREE WITH INFORMATION. THEY HAD IT AND SAID THIS IS WHAT WE USED TO DO AND THAT WAS IT." ACCORDING TO BARTOSEK, THE DESIGN IS SIMILAR TO HOW THEY DECORATED EASTER EGGS. UPON RETURNING HOME, BARTOSEK PUT IT INTO A DISPLAY CABINET. IT WAS ALWAYS THERE. DONOR DECIDED TO GIVE THIS HANGING TO THE GALT BECAUSE HE IS "AT AN AGE WHERE WE HAVE TO CUT DOWN WHAT WE HAVE. NONE OF THE CHILDREN WANTED IT." BARTOSEK WAS BORN IN 1921 IN CZECHOSOLOVAKIA. IN 1925- 1926 HIS FAMILY IMMIGRATED TO CANADA. AT THE TIME, BARTOSEK WAS 4 1/2 YEARS OLD. HIS FATHER (FRANK BARTOSEK SR.) CAME TO RAYMOND ALONG WITH FOUR FRIENDS. THEY WORKED IN THE BEET FACTORY. THEY MOVED BECAUSE LAND WAS BECOMING SCARCE IN CZECHOSLOVAKIA. IN 1926, BARTOSEK, ALONG WITH HIS MOTHER AND SOME OF HIS SIBLINGS, JOINED HIS FATHER IN CANADA. HIS SISTER (MARIA CHUDIK) STAYED IN CZECHOSLOVAKIA IN ORDER TO HELP HER GRANDMOTHER AND GRANDFATHER. FOR MORE INFORMATION SEE PERMANENT FILE.
Catalogue Number
P20100011000
Acquisition Date
2010-01
Collection
Museum
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
DIP PEN
Date Range From
1830
Date Range To
1953
Material Type
Artifact
Materials
MOTHER OF PEARL, METAL, CARDBOARD
Catalogue Number
P20090016027
  1 image  
Material Type
Artifact
Other Name
DIP PEN
Date Range From
1830
Date Range To
1953
Materials
MOTHER OF PEARL, METAL, CARDBOARD
No. Pieces
6
Height
1.6
Length
20.5
Width
1.7
Description
CARDBOARD BOXED PEN WITH METAL NIB LYING ON COTTON BATTING – 6 PIECES. 1. LID, WHITE CARDBOARD, RECTANGULAR. MARKED “A.R. JUSTICE & CO., 718 CHESTNUT ST., PHILADELPHIA.” IN PURPLE TEXT IN CENTRE. SOILED THROUHOUT. INTERMITTENT WEAR ON EDGES. 1.4 CM HIGH BY 20.5 CM LONG BY 1.7 CM WIDE. 2. COTTON BATTING. CREAM COLORED. ORANGE STAIN ON ONE SIDE. 0.9 CM HIGH BY 11.4 CM LONG BY 1.3 CM WIDE. 3. COTTON BATTING. CREAM COLORED. 1.0 CM HIGH BY 7.1 CM LONG BY 1.5 CM WIDE. 4. BASE, WHITE CARDBOARD, RECTANGULAR. SOILED ON BOTTOM. BOTTOM EDGES WORN. 1.4 CM HIGH BY 19.6 CM LONG BY 1.4 CM WIDE. 5. COTTON BATTING. CREAM COLORED. ONE END IS CURLED UNDER. CENTRE OF BATTING HAS BEEN STRETCHED THIN. 1.9 CM HIGH BY 20.3 CM LONG BY 1.8 CM WIDE. 6. PEN. TWISTED MOTHER OF PEARL AND COPPER HANDLE. COPPER WORK DECORATED WITH EMBOSSED SWIRLS. GOLDPLATED NIB MARKED, “E.T., PEARCE, & CO., PROV. RI”. 16.5 CM LONG BY 0.5 CM IN DIAMETER.
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
DOMESTIC
FINE ARTS
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016027
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Date Range From
1830
Date Range To
1953
Material Type
Artifact
Materials
STEEL
Catalogue Number
P20090016040
  1 image  
Material Type
Artifact
Date Range From
1830
Date Range To
1953
Materials
STEEL
No. Pieces
5
Length
3.8
Width
1.2
Description
(5) GLAZIER'S POINTS, STEEL, PARALLELOGRAM SHAPED. TARNISHED THROUGHOUT. DULL EDGES.
Subjects
GLASS, PLASTICS, CLAYWORKING T&E
Historical Association
FINE ARTS
DOMESTIC
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016040
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
"EDITH F. KIRK"
Date Range From
1856
Date Range To
1953
Material Type
Artifact
Materials
WOOD, RUBBER, BRASS
Catalogue Number
P20090016035
  1 image  
Material Type
Artifact
Other Name
"EDITH F. KIRK"
Date Range From
1856
Date Range To
1953
Materials
WOOD, RUBBER, BRASS
No. Pieces
1
Height
5.5
Length
4.2
Width
2.7
Description
STAMP, RUBBER, RECTANGULAR SHAPED WITH WOODEN HANDLE. MARKED, “EDITH F. KIRK.” IN CURSIVE. REMNANTS OF BLUE INK THROUGHOUT. SMALL HOLE DRILLED IN TOP OF HANDLE.
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
DOMESTIC
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE. 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. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON THE ARTIST EDITH KIRK WAS DEVELOPED BY GALT CURATOR WENDY AITKENS IN PREPARATION FOR THE 2015 KIRK EXHIBIT AT THE GALT MUSEUM: "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." EDITH KIRK PASSED AWAY IN LETHBRIDGE IN 1953. FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO, "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRCK" BY WENDY AITKENS. ALSO SEE PERMANENT FILE.
Catalogue Number
P20090016035
Acquisition Date
2009-05
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
Date Range From
1945
Date Range To
1955
Material Type
Artifact
Materials
COTTON, LINEN
Catalogue Number
P19930007011
  1 image  
Material Type
Artifact
Date Range From
1945
Date Range To
1955
Materials
COTTON, LINEN
No. Pieces
1
Width
37.2
Description
COTTON SEWN WITH SKIRT & BIB & NECK LOOP. FLORAL PRINT, LINEN LACE ALONG SEAM & PIPING AROUND PERIMETER. POCKET. STAINS. HAS BEEN REPAIRED, SEE CONSERVATION REPORT. SMALL HOLE IN FRONT, JUST BELOW APRON.
Subjects
CLOTHING-OUTERWEAR
Historical Association
DOMESTIC
History
APRON APPEARS HANDMADE & IS A STYLE APPROPRIATE TO POST-WAR, TO EARLY '60'S. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING P19930007003. NO NEW INFORMATION WAS FOUND ABOUT THAT PIECE, BUT THE FOLLOWING INFORMATION ABOUT THE DONORS, EARL AND MARY WAGNESS, WAS FOUND IN THEIR LETHBRIDGE HERALD OBITUARIES. MARY WAS BORN IN CLAYTON, ONTARIO IN 1905 AND MOVED TO ENCHANT, ALBERTA WITH HER FAMILY IN 1917. AFTER COMPLETING A BUSINESS COURSE IN CALGARY SHE WORKED FOR THE CANADIAN BANK OF COMMERCE IN STAVELY. MARY MARRIED EARL WAGNESS IN STAVELY IN 1929, AND OVER THE 61 YEARS OF THEIR MARRIAGE THEY LIVED THROUGHOUT SOUTHERN ALBERTA, MOVING FOR EARL'S WORK WITH THE ALBERTA PACIFIC GRAIN COMPANY. THEY RETIRED TO LETHBRIDGE IN 1956. MARY WAS ACTIVE IN CURLING, THE ORDER OF THE EASTERN STAR, CHURCH CHOIR, AND COMMUNITY VOLUNTEER WORK. EARL WAS A HOBBYIST WATCHMAKER - SEE RECORD P19930009001 FOR INFORMATION ABOUT HIS WATCHMAKING PRACTICE AND TOOLS. EARL DIED IN 1990, AND MARY DIED IN 2000. SEE PERMANENT FILE FOR HARDCOPIES OF OBITUARIES. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A RIBBON AND A DICKEY DONATED BY SHIRLEY TUCKER. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. MARY CHRISTINA WAGNESS (NEE ROBERTSON) WAS BORN IN CLAYTON, ON ON FEBRUARY 28, 1905, THE DAUGHTER OF MR. AND MRS. J.B. ROBERTSON. IN 1917 HER FAMILY MOVED FROM ANTHER, SK TO ENCHANT, AB. AFTER COMPLETING A BUSINESS COURSE IN CALGARY, MARY WORKED FOR THE CANADIAN BANK OF COMMERCE IN STAVELY, AB. ACCORDING TO HER WEDDING ANNOUNCEMENT, MARY WORKED FOR THE BANK FOR THREE AND A HALF YEARS BEFORE HER MARRIAGE. SHE WAS MARRIED TO EARL WAGNESS ON AUGUST 7, 1929 AND THE COUPLE LIVED IN WOODHOUSE, BARONS, AND MILK RIVER, BEFORE RETIRING TO LETHBRIDGE IN 1956. MARY PASSED AWAY AT THE AGE OF 95 IN APRIL 2000. EARL RANDOLPH WAGNESS PASSED AWAY AT THE AGE OF 84 ON NOVEMBER 23, 1990. HE WAS THE SON OF MARTIN WAGNESS AND CAROLINA WAGNESS (MAIDEN NAME UNKNOWN). SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD.
Catalogue Number
P19930007011
Acquisition Date
1993-02
Collection
Museum
Images
Less detail
Date Range From
1933
Date Range To
1960
Material Type
Artifact
Materials
TIN
Catalogue Number
P20060015002
Material Type
Artifact
Date Range From
1933
Date Range To
1960
Materials
TIN
No. Pieces
2
Description
TWO RECTANGULAR TIN BREAD PANS WITH HANDLES ON EACH END. BOTH PANS ARE RUSTED AND VERY WORN. 1. 6.5 (H) X 45 (L) X 35 (W) 2. 6.5 (H) X 35 (L) X 25 (W)
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
ITEM BELONGED TO DONORS MOTHER, OTO KANASHIRO (1906-1992). KANASHIRO WAS BORN ON A SUGAR CANE FARM IN THE SEMI-TROPICAL ISLAND OF OKINAWA AND MARRIED BOKUJIN KANASHIRO IN YOMITAN, OKINAWA, JAPAN IN 1930. AFTER THEY MARRIED, MR. KANASHIRO, RETURNED TO HIS HOME IN HARDIEVILLE, ALBERTA. MRS. KANASHIRO WENT TO OSAKA TO WORK IN A SILK FACTORY AND WAITED HER TURN TO BE ALLOWED INTO CANADA. AT THIS TIME THE NUMBER OF NEW JAPANESE IMMIGRANTS WAS RESTRICTED. IN OSAKA, SHE LEARNED TO CARE FOR SILKWORM COCOONS, SPIN YARN, AND TO WEAVE VERY FINE SILK. AFTER THREE YEARS, MRS. KANASHRIO MADE THE DIFFICULT THREE WEEK JOURNEY TO CANADA BY BOAT, ARRIVING AT HER NEW HOME IN HARDIEVILLE, ALBERTA. SHE CAME TO SETTLE IN THE SMALL COMMUNITY OF APPROXIMATELY 50 OKINAWA FAMILIES. SHE QUICKLY LEARNED TO MANAGE HER DOMESTIC LIFE AND FOUND HER MAIN SUPPORT FROM THE WOMEN IN THE COMMUNITY AND HER EXTENDED FAMILY, IN PARTICULAR HER SISTER- IN-LAW, USHI KANASHIRO WHO TAUGHT HER HOW TO MAKE BREAD. OVER TIME, SHE PERFECTED THE ART OF BREAD MAKING, BAKING FIVE TO EIGHT LARGE LOAVES AT A TIME TO MEET THE DEMANDS OF HER GROWING FAMILY. SHE MADE THE BREAD FROM YEAST, WHEAT FLOUR AND USED LIQUID FROM BOILED POTATOES. SHE USED THE LARGE ENAMEL BOWL WITH THE LID TO MIX THE DOUGH AND ALLOW IT TO RISE. WHEN THERE DOUGH ROSE SEVERAL INCHES ABOVE THE RIM OF THE BOWL, IT WOULD BE PUNCHED DOWN AND LEFT TO RISE ONCE MORE. THE DOUGH WAS SHAPED INTO LOAVES AND PLACED THREE TO A PAN AND TWO FOR THE SMALLER BREAD PAN THEN BAKED IN THE OVEN OF HER COAL BURNING STOVE. FOR VARIETY, SHE WOULD MAKE CINNAMON BUNS OR DINNER BUNS FROM THE SAME BREAD DOUGH. OCCASIONALLY SHE USED THE BREAD DOUGH AND CUT OUT DONUT RINGS, DEEP FRY IT THEN COAT IT WITH SUGAR. SHE ALSO MADE KARINTO WITH THE BREAD DOUGH (SEE PERMANENT FILE FOR INSTRUCTION ON HOW TO MAKE KARINTO). MRS. KANASHIRO BAKED BREAD USING THIS EQUIPMENT UNTIL THE 1960S WHEN HER CHILDREN LEFT HOME ONE BY ONE. SHE STILL OCCASIONALLY BAKED BREAD BUT IT WAS ONE OR TWO LOAVES AT A TIME USING SMALLER KITCHEN BOWLS AND PANS. FOR FAMILY IMAGES, PLEASE SEE RELATED ARCHIVAL DONATION 20091011000. PHOTOCOPIES OF PHOTOS CAN BE FOUND AS PART OF THIS DONATION'S PERMANENT FILE. REYKO NISHIYAMA'S STORY OF HER MOTHER BAKING BREAD CAN ALSO BE FOUND IN THE PERMANENT FILE. SEE PREVIOUS DONATION BY DONOR P20030003000-GA
Catalogue Number
P20060015002
Acquisition Date
2006-06
Collection
Museum
Less detail
Other Name
BREAD MAKER
Date Range From
1933
Date Range To
1960
Material Type
Artifact
Materials
TIN, ENAMEL
Catalogue Number
P20060015001
Material Type
Artifact
Other Name
BREAD MAKER
Date Range From
1933
Date Range To
1960
Materials
TIN, ENAMEL
No. Pieces
2
Height
32
Diameter
42.5
Description
WHT WITH BL ENAMEL BREAD MAKER BOWL WITH LID. HANDLE MISSING ON ONE SIDE OF BOWL. RIM SLIGHTLY BENT WITH VARIOUS RUST MARKS. LID FITS ON TOP WITH HANDLE. SIX VENT HOLES ON TOP BENEATH HANDLE. RUST MARKS ON TOP AND BOTTOM.
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
ITEM BELONGED TO DONORS MOTHER, OTO KANASHIRO (1906-1992). KANASHIRO WAS BORN ON A SUGAR CANE FARM IN THE SEMI-TROPICAL ISLAND OF OKINAWA AND MARRIED BOKUJIN KANASHIRO IN YOMITAN, OKINAWA, JAPAN IN 1930. AFTER THEY MARRIED, MR. KANASHIRO, RETURNED TO HIS HOME IN HARDIEVILLE, ALBERTA. MRS. KANASHIRO WENT TO OSAKA TO WORK IN A SILK FACTORY AND WAITED HER TURN TO BE ALLOWED INTO CANADA. AT THIS TIME THE NUMBER OF NEW JAPANESE IMMIGRANTS WAS RESTRICTED. IN OSAKA, SHE LEARNED TO CARE FOR SILKWORM COCOONS, SPIN YARN, AND TO WEAVE VERY FINE SILK. AFTER THREE YEARS, MRS. KANASHRIO MADE THE DIFFICULT THREE WEEK JOURNEY TO CANADA BY BOAT, ARRIVING AT HER NEW HOME IN HARDIEVILLE, ALBERTA. SHE CAME TO SETTLE IN THE SMALL COMMUNITY OF APPROXIMATELY 50 OKINAWA FAMILIES. SHE QUICKLY LEARNED TO MANAGE HER DOMESTIC LIFE AND FOUND HER MAIN SUPPORT FROM THE WOMEN IN THE COMMUNITY AND HER EXTENDED FAMILY, IN PARTICULAR HER SISTER- IN-LAW, USHI KANASHIRO WHO TAUGHT HER HOW TO MAKE BREAD. OVER TIME, SHE PERFECTED THE ART OF BREAD MAKING, BAKING FIVE TO EIGHT LARGE LOAVES AT A TIME TO MEET THE DEMANDS OF HER GROWING FAMILY. SHE MADE THE BREAD FROM YEAST, WHEAT FLOUR AND USED LIQUID FROM BOILED POTATOES. SHE USED THE LARGE ENAMEL BOWL WITH THE LID TO MIX THE DOUGH AND ALLOW IT TO RISE. WHEN THERE DOUGH ROSE SEVERAL INCHES ABOVE THE RIM OF THE BOWL, IT WOULD BE PUNCHED DOWN AND LEFT TO RISE ONCE MORE. THE DOUGH WAS SHAPED INTO LOAVES AND PLACED THREE TO A PAN AND TWO FOR THE SMALLER BREAD PAN THEN BAKED IN THE OVEN OF HER COAL BURNING STOVE. FOR VARIETY, SHE WOULD MAKE CINNAMON BUNS OR DINNER BUNS FROM THE SAME BREAD DOUGH. OCCASIONALLY SHE USED THE BREAD DOUGH AND CUT OUT DONUT RINGS, DEEP FRY IT THEN COAT IT WITH SUGAR. SHE ALSO MADE KARINTO WITH THE BREAD DOUGH (SEE PERMANENT FILE FOR INSTRUCTION ON HOW TO MAKE KARINTO) MRS. KANASHIRO BAKED BREAD USING THIS EQUIPMENT UNTIL THE 1960S WHEN HER CHILDREN LEFT HOME ONE BY ONE. SHE STILL OCCASIONALLY BAKED BREAD BUT IT WAS ONE OR TWO LOAVES AT A TIME USING SMALLER KITCHEN BOWLS AND PANS. FOR FAMILY IMAGES, PLEASE SEE RELATED ARCHIVAL DONATION 20091011000. PHOTOCOPIES OF PHOTOS CAN BE FOUND AS PART OF THIS DONATION'S PERMANENT FILE. FILE ADDITIONALLY INCLUDES HANDWRITTEN LIST OF SOUTHERN ALBERTA JAPANESE FAMILY SURNAMES WHICH ARE ASSOCIATED WITH OKINAWA. LIST WAS PROVIDED BY VISITING JAPANESE BUDDHIST REVEREND FUJIOKA WHO WAS STUDYING OKINAWIAN IMMIGRATION TO SOUTHERN ALBERTA. SEE PREVIOUS DONATION BY DONOR P20030003000-GA
Catalogue Number
P20060015001
Acquisition Date
2006-06
Collection
Museum
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19950073063
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
WOOD
No. Pieces
1
Height
29
Length
34.4
Width
33.8
Description
UNFINISHED WOOD BOX, MADE OF PLANKS NAILED AT CORNERS. OPEN AT TOP. ONE SIDE OF BOX STAMPED IN BLACK "CANADIAN BUTTER MANITOBA CN.NO..BS" (REST ILLEGIBLE) STAMPED IN RED IS "GLENDALE". INSIDE OF BOX COATED WITH WAXY LAYER; NAILS RUSTING THROUGHOUT. WOOD IS SCRATCHED, MARRED AND STAINED IN SEVERAL PLACES ON EXTERIOR.
Subjects
CONTAINER
Historical Association
RETAIL TRADE
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
P19950073063
Acquisition Date
1995-11
Collection
Museum
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD, STEEL, RAYON
Catalogue Number
P19950073072
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD, STEEL, RAYON
No. Pieces
1
Height
14.5
Length
45.8
Width
31.4
Description
BROWN IMITATION REPTILE SKIN SUITCASE, WITH LIGHTER BROWN REINFORCED ROUNDED EDGES. TWO STEEL CLASPS ON FRONT WITH STEEL HINGES AND BASE GUARDS ON BOTTOM. PLASTIC HANDLE WITH SMALL NAMEPLATE ABOVE READING "U.N. LUGGAGE WINNIPEG-CANADA". INTERIOR LINED WITH BURGUNDY SATIN FABRIC AND HAS TWO ELASTICIZED POUCHES; ONE ON INTERIOR OF LID, AND ONE ACROSS BACK OF BASE. ELASTIC STILL SUPPLE. FEW MINOR SCRATCHES AND SLIGHT WEAR ON EXTERIOR. WHITE STICKER ON SIDE HANDWRITTEN "2973".
Subjects
PERSONAL GEAR
Historical Association
TRANSPORTATION
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
P19950073072
Acquisition Date
1995-11
Collection
Museum
Images
Less detail
Other Name
JU-KEN-JITSU EQUIPMENT "DO" (BODY GUARD)
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
LEATHER, BAMBOO, COTTON
Catalogue Number
P19790282000
Material Type
Artifact
Other Name
JU-KEN-JITSU EQUIPMENT "DO" (BODY GUARD)
Date Range From
1930
Date Range To
1940
Materials
LEATHER, BAMBOO, COTTON
No. Pieces
5
Description
.1 61 CM SHOULDER, 51 CM CHEST HT. X 40.6 CM WTH. CHEST, 30.5 CM SKIRT TOP, 36.8 CM SKIRT BOTTOM X 17.8 CM THROUGH CHEST, 2.5 CM PADDING, 0.6 CM SKIRT. LEATHER, BAMBOO, COTTON. THE "DO" HAS A SOLID BAMBOO CHEST PIECE STITCHED TOGETHER WITH RAWHIDE. THE FRONT IS COVERED WITH A SOLID PIECE OF RAWHIDE, CHEST PIECE SHAPED LIKE A THIRD OF A CIRCLE, FOLLOWING BODY CONTOURS. BOTTOM & TOP OF BAMBOO IS EDGED WITH LEATHER, LEFT SIDE - PADDED & DECORATED LEATHER SHOULDER GUARD, COTTON ROPE TIED ON THE LEFT SIDE IS UED TO ATTACHED THE "DO" TO THE BODY. ON THE SHOULDER PIECE AND THE RIGHT SIDE THERE ARE LOOPS TO TIE THE ROPE TO. BELOW THE CHEST PART IS A 3 PANEL, NAVY QUILTED SKIRT. TWO SIDE PANELS FALL BELOW AND BESDIE THE FRONT PANEL, TOP 5.1 CM & EDGES ARE LEATHER, BOTTOM PART IS COVERED BY COTTON. INSIDE IS A 30.1 CM X 45.7 CM QUILTED, COTTON COVERED PAD. BEIGE, LOWER RIGHT CORNER IS STAINED BROWN. PAD FITS THE CONTOUR OF THE "DO". .2 JU-KEN-JITSU EQUIPMENT "MEN" (FACE GUARD) 45.7 CM HT. X 17.8 CM WTH (ACROSS FACE) X 26.7 CM LTH. (FRONT TO BACK). COTTON, LEATHER, IRON, LAQUER. FACE GUARD CONSISTS OF A LONG, OPEN-BACKED HOOD WITH CURVED IRON BARS ACROSS THE FACE PART. BLACK, IS MADE FROM QUILTED, COTTON-COVERED PADDING. INSIDE IS BADLY STAINED WHITE ON LEFT AND WORN THROUGH ON RIGHT. PADDING VISIBLE THROUGH WORN SPOTS (APPEARS TO BE FIBROUS, HEMP-LIKE MATERIAL). ACTUAL FACE GUARD IS LINED WITH AN EXTRA LAYER OF NAVY PADDING AND STITCHED RAWHIDE ON OUTSIDE. CHIN & NECK AREA PROTECTED BY A THICK LEATHER PAD ON OUTSIDE. FACE COVERING MADE OF 14 RED CURVED, HORIZONTAL BARS & 1 HEAVY VERTICAL PIECE WHICH RUNS DOWN THE CENTRE. SOME BARS ARE RUSTY, OFF-WHITE, WOVEN COTTON ROPE ATTACHED TO THE 6TH (FROM TOP) BAR, IS USED TO TIE ON HEAD GUARD. SIDE - PADDED & DECORATED LEATHER SHOULDER. .3 JU-KEN-JITSU EQUIPMENT- (SHOULDER GUARD) KATA. 33 CM HT. X 34.3 CM WTH. X 40.6 CM LTH. LEATHER, COTTON, SHEEP'S WOOL PAD, OTHER PADDING. MADE FROM LEATHER & COTTON COVERED PADDING, SHAPED TO FIT OVER LEFT SHOULDER & TOP OF LEFT ARM. TOP & SIDE COVERED BY HEAVY GRADE BLACK LEATHER, TOP ARM COVER MADE FROM LIGHTER GRADE. QUILTED BLACK LEATHER COVERING NAVY BLUE COTTON COVERED PADDING. ARM PORTION IS LACED AT BOTTOM. UNDER ARM STIFF MIDDLE WEIGHT LEATHER, VERY HEAVILY PADDED. BLACK LEATHER QUILTED CUFF STUFFED WITH SHEEPSKIN AT NECK. INSIDE COVERED WITH FINE & COARSE WEAVE NAVY BLUE COTTON. UNDERARM COVERED BY OFF-WHITE LEATHER, COTTON ROPE ATTACHED TO TOP BACK AT SHOULDER. .4 JU-KEN-JITSU EQUIPMENT: KOTE (GLOVE). 32 CM HT. X 20.3 CM WTH. X 1.3 CM LTH. LEATHER, COTTON, HORSE HAIR, HEMP PADDING. BEIGE, LEATHER COVERED UPPER HAND AND PALM. BELOW IS A 2.5 CM STRIP OF NAVY BLUE COTTON. WRIST LEATHER COVERED; 12.7 CM FOREARM SHIELD BELOW (NAVY BLUE COTTON COVERED PADDING). INSIDE ARM LACED WITH NAVY BLUE COTTON CORD. INSIDE HAND ON TOP OF THUMB LINING WORN THROUGH AND RIPPED. "40" WRITTEN IN BLACK INK BELOW THUMB. LETTERS WRITTEN BESIDE LACING "H A ? ? ? A R I".
Subjects
SPORTS EQUIPMENT
ARMAMENT-BODY ARMOR
Historical Association
SPORTS
ETHNOGRAPHIC
History
.1 "DO" IS A PROTECTIVE COVER FOR THE LEFT SIDE OF THE BODY. USED FOR SPORTS MILITARY TRAIING FOR BAYONET DRILL. SET WAS USED BETWEEN 1930-37 IN COMPETITIONS WITH LONG, WOODEN FENCING STAFFS (NOT INCLUDED), IN THE RAYMOND BUDDHIST CHURCH. JU-KEN-JITSU IS A MILITARY BAYONET EXERCISE, A MARTIAL ART. .2 THIS "MEN" IS A FACE GUARD USED TO PROTECT THE HEAD. .3 KATA IS A SHOULDER GUARD USED TO PROTECT LEFT SHOULDER. .4 "KOTE" IS A GLOVE WHICH PROTECTS THE LEFT HAND.
Catalogue Number
P19790282000
Acquisition Date
1979-12
Collection
Museum
Less detail

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