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Other Name
CIGARETTE SILKS
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
LINEN, SILK
Catalogue Number
P19739445000
  1 image  
Material Type
Artifact
Other Name
CIGARETTE SILKS
Date Range From
1920
Date Range To
1930
Materials
LINEN, SILK
No. Pieces
1
Length
210.8
Width
173.3
Description
FLOWERS AND ENSIGNS IN RED, BLUE, PURPLE, YELLOW, BROWN, GREEN, BLACK. HAND MONOGRAMMED. WHITE LINEN BACKGROUND. SEVERAL BROWN STAINS ON RIGHT, MIDDLE, AND BOTTOM LEFT. GENERAL YELLOWING HAS BEGUN SLIGHTLY.
Subjects
BEDDING
ART
Historical Association
DECORATIVE ARTS
History
PRIOR TO 1925, TOBACCO COMPANYS PLACED SILK & SATIN INSERTS IN CIGAR, CIGARETTE & TOBACCO PACKAGES AS BONUSES. THE SILK DECALS USED IN THIS QUILT ARE EXAMPLES. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0270” BY THE ALBERTA QUILT PROJECT.
Catalogue Number
P19739445000
Acquisition Date
1973-05
Collection
Museum
Images
Less detail

Conservation during temporary exhibitions

https://collections.galtmuseum.com/en/permalink/library1398
Author
Bachmann, Karl-Werner
Material Type
Book
Material Type
Book
Author
Bachmann, Karl-Werner
Publication Date
1975
Subjects
Art - Protection
Call Number
Prof N 8750 B12 E5 1975
Collection
Library
Less detail
Other Name
LETHBRIDGE CENTENNIAL
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19860002000
Material Type
Artifact
Other Name
LETHBRIDGE CENTENNIAL
Date
1985
Materials
COTTON
No. Pieces
1
Length
257
Width
280
Description
IVORY, PINK, ROSE, GREEN, BLUE. ROSE GLADIOLA GREEN STEM, HANDPAINTED IN LEFT CORNER, WRITTEN IN BLUE/GREY "LETHBRIDGE CENTENNIAL 1885 1985", ROSE STITCHED SUN-RAY EFFECT RADIATING UPWARD TOWARDS UPPER RIGHT HAND CORNER. 4 ROWS OF ROSE STITCHING AROUND PERIMETER OF QUILT. LABEL SEWN ON BACK CORNER READS "HAND MADE BY LETHBRIDGE SENIOR CITIZEN'S ORGANIZATION". ALSO ON BACK TOP IS BASTING WHICH HAS NOT BEEN REMOVED, POSSIBLY USED TO HANG QUILT WITH. UPPER RIGHT HAND CORNER HAS STITCHED AND HAND PAINTED IN BLUE-GREY COLOR, IN WRITING, "L.S.C.O.". BOTTOM LEFT HAND CORNER HAS SEVERAL RED SPLATTERS OF PAINT AND A COUPLE OF BLUE.
Subjects
ART
BEDDING
Historical Association
COMMEMORATIVE
History
DONATED BY LETHBRIDGE SENIOR CITIZENS AS A CENTENNIAL PROJECT.
Catalogue Number
P19860002000
Acquisition Date
1985-09
Collection
Museum
Less detail

Safeguarding your collection in travel

https://collections.galtmuseum.com/en/permalink/library1397
Author
Keck, Caroline K
Publisher
American Association for State and Local History
Material Type
Book
Material Type
Book
Author
Keck, Caroline K
Place
Nashville, Tennessee
Publisher
American Association for State and Local History
Publication Date
1970
Subjects
Art objects - Packing
Call Number
Prof N 8585 K25 1970
Collection
Library
Less detail
Other Name
CENTENNIAL QUILT
Material Type
Artifact
Materials
COTTON, POLYESTER, CORDUROY, SATIN
Catalogue Number
P19860001000
  1 image  
Material Type
Artifact
Other Name
CENTENNIAL QUILT
Date
1985
Materials
COTTON, POLYESTER, CORDUROY, SATIN
No. Pieces
2
Length
210
Width
289
Description
.1 QUILT. COTTON, POLYESTER, CORDUROY, SATIN, EMBROIDERY FLOSS. NAVY BLUE, WHITE BACKGROUND, VARIOUS COLORS IN INDIVIDUAL SQUARES. FRONT - NAVY BLUE/WHITE SWISS DOT, STALKS OF WHEAT QUILTED ON BOTTOM LEFT AND RIGHT CORNERS. BACK - NAVY BLUE, TAN, WHITE, PINK SMALL FLORAL DESIGN.BACK OF BOTTOM LEFT CORNER IS COTTON TAG SEWN ON. READS "REGISTRATION NUMBER: 3-0442 ALBERTA HERITAGE QUILT PROJECT". TOP ROW, LEFT TO RIGHT 1. THE LOOKOUT FOR THE ORIGINAL SITE OF FORT WHOOP-UP BY JANET ALEXANDER. 2. THE CPR RAILWAY BRIDGE BY MAUREEN HEPHER. 3. THE LETHBRIDGE BREWERY BY DALE BLAIR. 4. THE HALE HOME BY CHRIS HALE. 5. CPR RAILWAY STATION BY SHIRLEY SCOTNEY. 6. INDIAN BATTLE PARK BY AGNES FINNELL. 7. THE UNIVERSITY OF LETHBRIDGE BY BARBARA DAWSON. SECOND ROW, LEFT TO RIGHT. 1. Y.W.C.A. ORIGINAL BUILDING BY BARBARA DAY. 2. ST. AUGUSTINE'S CHURCH BY PHYLLIS CAMERON. 3. GENEVIEVE E. YATES MEMORIAL CENTRE BY ANGIE RICE. 4. THE BOWMAN ARTS CENTRE BY WALLIS ALLEN. 5. THE POST OFFICE BY MARTHA DRAFFIN. 6. LETHBRIDGE EXHIBITION & RACE TRACK BY L. RUSSELL. THIRD ROW, LEFT TO RIGHT. 1. BLOWING WHEAT BY SUE CHRISTIE. 2. LITTLE HOUSE ON THE PRAIRIE BY ADELE DOWNS. 3. COURT HOUSE BY ESTELLE WARNICA. 4. JAPANESE GARDENS BY SANDRA HAHN. 5. CACTUS FLOWER BY BETTY AFAGANIS. FOURTH ROW, LEFT TO RIGHT. 1. HARVESTING TIME BY CAROLYN JEFFERSON. 2. LETHBRIDGE CENTENNIAL QUILT BLOCK BY FRANCES SCHULTZ. 3. A LETHBRIDGE SCENE: THE CHINOOK WIND, THE GOPHER AND THE TUMBLEWEED BY HELEN BAKER. 4. THE TEEPEE BY JOYCE SARSFIELD. FIFTH ROW, LEFT TO RIGHT. 1. COULEE FLOWERS BY DOREEN ROSS. 2. THE LETHBRIDGE LOGO BY CATHIE THRALL. 3. THE ALBERTA ROSE BY KERRY MORRISON. .2 SAMPLER. 22 CM WDTH. X 22 CM LGTH. COTTON, LACE. NAVY BLUE/WHITE. NAVY BLUE/WHITE SWISS DOT 18 CM SQUARE, ENCIRCLED WITH WHITE COTTON LACE, "THIS HEIRLOOM QUILT WAS CREATED BY THE LETHBRIDGE CENTENNIAL QUILTERS 1985" NEEDLEPOINTED IN A CIRCLE CUT OUT OF THE SQUARE. SEE CONSERVATION REPORT. FADED SLIGHTLY.
Subjects
BEDDING
ART
Historical Association
COMMEMORATIVE
History
QUILT MADE BY THE CENTENNIAL QUILTERS IN HONOR OF LETHBRIDGE'S 100TH BIRTHDAY, DONATED TO THE GALT MUSEUM.
Catalogue Number
P19860001000
Acquisition Date
1985-09
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
RIBBON, SILK, NYLON, LINEN
Catalogue Number
P19738519000
Material Type
Artifact
Date
1894
Materials
RIBBON, SILK, NYLON, LINEN
No. Pieces
1
Length
85.1
Width
50.0
Description
CENTRE IS OFF-WHITE SATIN WITH 2 FLOWER BASKETS AT EACH END. FLOWER BASKETS ARE EMBROIDERED. GREEN SILK & WHITE NYLON RUFFLE EDGING. FLOWERS, LEAVES & BOWS ARE EMBROIDERED WITH A RIBBON TECHNIQUE IN PINK, GREEN, BLUE, YELLOW. LINED WITH LINEN. THE COVER HAS SPLIT IN SEVERAL PLACES.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
DOMESTIC
History
GOOD EXAMPLE OF SILK RIBBON EMBROIDERY. REF: MONTGOMERY WARD CATALOGUE 1894.
Catalogue Number
P19738519000
Acquisition Date
1973-02
Collection
Museum
Less detail
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026001
  2 images  
Material Type
Artifact
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Materials
COTTON, WOOL
No. Pieces
1
Length
203
Width
262
Description
FINISHED QUILT WITH BLUE BACKING AND TRIM ALONG EDGES; QUILT TOP HAND-STITCHED, BACKING AND TRIM MACHINE STITCHED. QUILT TOP IS WHITE WITH MULTI-COLOURED FLOWERS ARRANGED IN RINGS; FLOWERS HAVE GREEN LEAVES SURROUNDING PETALS AND LEAVES CONNECT TO FORM THE RINGS. QUILT TOP HAS TWO WHITE FABRICS STITCHED TOGETHER AS BACKGROUND FOR FLOWERS. FRONT HAS MINOR STAINING; BACK HAS SMALL HOLE WITH FRAYED EDGES AND LOSS; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE APPLIQUE QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “THIS BLUE AND WHITE [APPLIQUE] ONE WAS MADE FOR MY [OLDER] SISTER MARY AND SHE WAS AWAY FROM HOME SO IT NEVER GOT HANDED OFF…THE [APPLIQUE] QUILT WAS UP IN THE ATTIC AND THE REST OF THEM, I THINK, WERE JUST IN STORAGE IN THE [ATTIC].” “[MARY] WAS THE SECOND IN LINE…[SHE WAS BORN] IN 1935. I THINK [MY MOM] THOUGHT THAT MARY WAS ONE OF THE ONES THAT WAS OUT OF THE FAMILY. SHE WAS THE BLACK SHEEP, I THINK.” GLORIA BETTS NOTED, “MARY HAD GONE TO THE CONVENT AND THAT’S PROBABLY WHILE SHE WAS GONE WHEN IT WAS MADE.” “[MARY WAS BORN IN] ’35, SO IN ‘55 SHE WOULD HAVE BEEN 20 YEARS OLD AND WOULD HAVE BEEN IN THE CONVENT. [THE QUILT WAS MADE] PROBABLY MID ‘50S.” ED BETTS NOTED, “IT WAS UP IN THE ATTIC , IT WAS SEWN…HOW THE OLD 100-POUND FLOUR SACKS USED TO COME, WHITE, IT WAS ALL SEWN UP AND HER NAME WAS PUT ON IT IN INDELIBLE PENCIL.” GLORIA BETTS NOTED, ON THE QUILT'S INVOLVEMENT IN THE "ALBERTA QUILT PROJECT", “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN. I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “[SHE MADE QUILTS THAT] WOULD HAVE BEEN CALLED CRAZY [QUILTS] BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0284." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026001
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026002
  2 images  
Material Type
Artifact
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Materials
COTTON, WOOL
No. Pieces
1
Length
202
Width
260
Description
PURPLE QUILT WITH DOUBLE WEDDING RING PATTERN ON FRONT; QUILT HAS MACHINE-STITCHED GRID OF 80 SQUARES. RINGS ARE INTERLOCKED AND MULTI-COLOURED AND MULTI-PATTERNED WITH YELLOW, BLUE, PINK, AND RED PRIMARY COLOURS IN RINGS. QUILT TOP IS HAND-STITCHED AND SEAMS ALONG EDGES ARE MACHINE-STITCHED. BACK OF QUILT HAS LIGHTER PURPLE SECTIONS IN LOWER LEFT CORNER. EDGES ARE FRAYED; LOWER RIGHT CORNER HAS LOOSE STUFFING EXPOSED FROM INSIDE, STUFFING IS WOOL. UPPER RIGHT CORNER HAS INTERIOR FABRIC EXPOSED AND IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE DOUBLE WEDDING RING QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “[MOM] WAS ALWAYS DOING SOMETHING, ’CAUSE SHE COULDN’T SIT DOWN IDLY. SHE HAD TO BE CROCHETING, OR EMBROIDERING OR MAKING QUILTS.” GLORIA BETTS NOTED, “[IT WAS MADE IN THE] ‘60S, MAYBE EVEN THE ‘70S.” “WHEN I FIRST MET [KATHERINE], I CAN REMEMBER COMING INTO THE HOUSE AND SHE WAS SITTING AT THE OLD TREADLE SEWING MACHINE. THAT THING WAS JUST [GOING] AND THAT’S WHAT SHE WAS DOING, WAS JUST PIECING PIECES OF MATERIAL TOGETHER.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026002
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026003
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
197
Width
154.5
Description
QUILT TOP WITH MULTI-COLOURED AND MULTI-FABRIC CRAZY QUILT DESIGN IN A TWENTY SQUARE GRID; EACH GRID SQUARE HAS AN EIGHT-POINT STAR SEWN TOGETHER WITH MIXED-PATTERNED FABRICS. GRID SQUARES ARE DIVIDED BY EXTRA FABRIC TO FORM BORDERS. QUILT HAS ONE GRID BORDER OF DENIM EXTENDED PAST QUILT EDGE. QUILT IS HANDSTITCHED WITH STITCHES VISIBLE ON BACK; EDGES ARE UNFINISHED AND FRAYING; SMALL, FRAYED TEAR IN MIDDLE OF QUILT; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE CRAZY QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026003
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026004
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
187.5
Width
147
Description
QUILT TOP WITH GRID OF 20 SQUARES; EACH SQUARE HAS A PATCHWORK FAN BLOCK MADE OF ASSORTED PATTERNED FABRICS. QUILT TOP IS HANDSTICHED WITH UNFINISHED EDGES. QUILT BACKING IS PATCHWORK WITH BLACK AND WHITE SQUARES; BACKING SQUARE IN THE SECOND COLUMN AND THE 12TH SQUARE DOWN HAS BLACK TEXT ON WHITE FABRIC, “CRANE LIMITED; AT POINT OF MAILING; VALVES, FITTINGS, PUMPS, FABRICATED PIPE, HEATING AND PLUMBING MATERIALS”. QUILT HAS MINOR STAINING ON FRONT AND ALONG TOP EGDE; EDGES ARE FRAYING; QUILT HAS RIP BELOW CENTER SQUARE; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE FAN BLOCK QUILT, ED BETTS ELABORATED, “[THE QUILT BACKING IS] FLOUR SACKS…OR SUGAR SACKS, THEY ALL [CAME] IN WHITE SACKS.” GLORIA BETTS ADDED, “[SHE PROBABLY PUT A BACKING ON THIS QUILT TOP] BECAUSE USUALLY, EVEN TODAY IN QUILTING, THE FANS ARE DONE ON A BACKING BECAUSE EVERYTHING ON THE PIECES IS ON A BIAS SO IT STRETCHES. SO IT’S PUT ONTO A BACKING. BUT THE BACKING ON THAT PARTICULAR ONE BEING EITHER THE FLOUR SACKS OR THE SUGAR SACKS, TO ME, MADE IT UNIQUE.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE. [WE CHOSE THE FAN QUILT TOP] PROBABLY BECAUSE OF THE BACKING ON IT. A LOT OF THE TIME, IN THE OLD DAYS, THAT’S WHAT THEY DID, THEY PUT [QUILT TOPS] ON A BACKING.” “ON THE FAN [QUILT], [LUCY WITH THE ROYAL ALBERTA MUSEUM] IDENTIFIED FABRICS THAT WERE BACK TO THE EARLY 1900S. ONE SHE THINKS MIGHT BE BACK INTO THE LATE 1800S WHICH WAS PROBABLY A DRESS THAT [KATHERINE] GOT SOMEWHERE. THE BLUE BACKED ONE, THEY FOUND THERE WERE STILL PINS LEFT INSIDE THE QUILT AND THEY LEFT THEM THERE BECAUSE THEY SAID TO TAKE THEM OUT WOULD DAMAGE THE FABRIC. THEY WERE IMPRESSED WITH THE WORKMANSHIP ON THAT…ESPECIALLY WHEN THEY FOUND OUT THAT IT WAS PUT TOGETHER FROM A DESIGN DRAWN ON NEWSPAPER.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS' QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0286." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026004
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026005
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
215.4
Width
165
Description
QUILT TOP WITH EIGHT POINT STAR PATTERN IN 48 SQUARE GRID; QUILT TOP HAS BLUE TRIM ALONG EDGES AND BETWEEN SQUARES; EIGHT POINT STARS FASHIONED FROM MULTICOLOURED AND PATTERNED FABRICS. RIGHT EDGE HAS TWO SQUARES MISSING BLUE TRIM ALONG OUTER EDGE AND ONE SQUARE WITH RIPPED BLUE TRIM ALONG OUTER EDGE; LEFT EDGE HAS SQUARE MISSING BLUE TRIM ALONG OUTER EDGE. UPPER LEFT CORNER HAS THREE SEAMS SEWN IN BLUE TRIM. STARS IN SQUARES HANDSTITCHED; SQUARES ATTACHED WITH MACHINE STITCHED SEAMS; MACHINE STITCHED SEAMS ATTACHING SQUARES TO BLUE TRIM AND EDGES. EDGES ARE FRAYING; QUILT TOP HAS NO BACKING AND THREADS ARE EXPOSED; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE EIGHT-POINT STAR QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026005
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
PATCHWORK (CRAZY)
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P19900019000
  1 image  
Material Type
Artifact
Other Name
PATCHWORK (CRAZY)
Date
1946
Materials
WOOL, COTTON
No. Pieces
1
Length
177
Width
150
Description
MONOGRAMMED & DATED PATCHWORK OR CRAZY QUILT. PATCHES ON BLUE SINGLE PIECE BACKING & BORDER. "W M S 1946 STICHED ON CORNER BORDER IN RED THREAD. PATCHES IRREGULAR IN SHAPE & SIZE & ARE WOOL & COTTON PIECES. BOLD ZIG-ZAG STITCHES USED. HANDSTITCHED. WORN & FRAYED, SEE CONSERVATION REPORT.
Subjects
BEDDING
Historical Association
DOMESTIC
DECORATIVE ARTS
History
MADE BY ELDA POTTER IN SPRING COULEE. FAMILY ARRIVED THERE IN 1937 OR '38 FROM NORTH DAKOTA, OF NORWEIGEN DESCENT. QUILT PASSED ON TO DONOR WHEN MAKER & HUSBAND DIED. HAS ALWAYS BEEN IN FAMILY. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0279” BY THE ALBERTA QUILT PROJECT.
Catalogue Number
P19900019000
Acquisition Date
1990-01
Collection
Museum
Images
Less detail
Other Name
SQUARES & STARS
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19910041057
  1 image  
Material Type
Artifact
Other Name
SQUARES & STARS
Date
1864
Materials
COTTON
No. Pieces
1
Length
181.5
Width
175.1
Description
RED, WHITE, & BLUE GEOMETRIC DESIGN WITH STARS IN CENTER OF EACH SQUARE PANEL DESIGN. PINK PAISLEY HEM, DESIGN IDENTIFIED AS SQUARES & STARS. SOME WEAR EVIDENT, SMALL STAINS, FRAYING HEM. ON BACK IS HAND-PRINTED INK "MADE BY ELIZABETH EARLY REINHART ABOUT 1984 OR EARLIER" [LIKELY 1884]. PANEL PATTERN IS VARIATION OF "NINE-PATCH" PATTERN. COLORS FADING. SEE CONSERVATION REPORT.
Subjects
BEDDING
Historical Association
DOMESTIC
DECORATIVE ARTS
History
MADE BY GRANDMOTHER ELIZABETH REINHART IN THE UNITED STATES, BROUGHT TO ALBERTA AS SETTLERS' EFFECTS IN MARCH 1909 BY HENRY "DICK" FRANKLIN & MARY BOOSE. GRANDMOTHER WAS A RESIDENT OF LIMA OHIO WHEN QUILT WAS MADE. PASSED ON TO HER GRANDDAUGHTER, EDITH BOOSE OF VULCAN AB. EXCELLENT EXAMPLE OF HAND PIECING & QUILTING, FINE WORKMANSHIP & DESIGN. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0265” BY THE ALBERTA QUILT PROJECT. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING TWO NECKLACES AND A CUSHION COVER DONATED BY MARY EDITH BOOSE IN 1991. INFORMATION ABOUT THE DONOR COMES FROM HER OBITUARY PUBLISHED ON THE VULCAN FUNERAL HOME WEBSITE. IT STATES BOOSE WAS BORN ON 24 JANUARY 1900 IN LIMA, OHIO. SHE “CAME TO NANTON WITH HER SISTER RUTH AND THEIR PARENTS, HENRY "DICK" FRANKLIN AND MARY ESTHER (NEE RINEHART) BOOSE IN THE SPRING OF 1909. THEY SETTLED ON A FARM 27 MILES SOUTHEAST OF NANTON.” AFTER ATTENDING CALGARY NORMAL SCHOOL DURING 1923 – 1924, SHE BECAME A TEACHER. SHE TAUGHT SCHOOL AT EASTWAY. VULCAN, AND TURNER VALLEY. SHE RETIRED IN 1963 AFTER OVER THIRTY-NINE YEARS OF TEACHING. AFTER RETIREMENT, SHE RESIDED IN VULCAN AND PASSED AWAY THERE ON 15 FEBRUARY 1994 AT THE AGE OF 94 YEARS. THE RESEARCH CONDUCTED TO LOCATE THE DONOR’S NEXT-OF-KIN WAS UNSUCCESSFUL. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE FULL OBITUARY.
Catalogue Number
P19910041057
Acquisition Date
1991-06
Collection
Museum
Images
Less detail
Other Name
FLOWER POT
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19910041058
  1 image  
Material Type
Artifact
Other Name
FLOWER POT
Date
1865
Materials
COTTON
No. Pieces
1
Length
196.2
Width
161.0
Description
RED, WHITE, BLUE, & GREEN FLOWER BASKET DESIGN WITH BLUE HEM & WHITE POLKA DOTS. SOME WEAR ALONG HEM & WATER STAIN ALONG BOTTOM EDGE. SEE CONSERVATION REPORT. HAND PIECED, HAND QUILTED. BLUE HEM HAS BEEN ADDED AS REPAIR. ON BACK IN BLUE INK IS PRINTED "MADE BY ELIZABETH LEARLY REINHART LIKELY BEFORE 1865".
Subjects
BEDDING
Historical Association
DOMESTIC
DECORATIVE ARTS
History
MADE BY GRANDMOTHER ELIZABETH REINHART IN THE UNITED STATES, BROUGHT TO ALBERTA AS SETTLERS' EFFECTS IN MARCH 1909 BY HENRY "DICK" FRANKLIN & MARY BOOSE. GRANDMOTHER WAS A RESIDENT OF LIMA OHIO WHEN QUILT WAS MADE. PASSED ON TO HER GRANDDAUGHTER, EDITH BOOSE OF VULCAN AB. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0272” BY THE ALBERTA QUILT PROJECT. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING TWO NECKLACES AND A CUSHION COVER DONATED BY MARY EDITH BOOSE IN 1991. INFORMATION ABOUT THE DONOR COMES FROM HER OBITUARY PUBLISHED ON THE VULCAN FUNERAL HOME WEBSITE. IT STATES BOOSE WAS BORN ON 24 JANUARY 1900 IN LIMA, OHIO. SHE “CAME TO NANTON WITH HER SISTER RUTH AND THEIR PARENTS, HENRY "DICK" FRANKLIN AND MARY ESTHER (NEE RINEHART) BOOSE IN THE SPRING OF 1909. THEY SETTLED ON A FARM 27 MILES SOUTHEAST OF NANTON.” AFTER ATTENDING CALGARY NORMAL SCHOOL DURING 1923 – 1924, SHE BECAME A TEACHER. SHE TAUGHT SCHOOL AT EASTWAY. VULCAN, AND TURNER VALLEY. SHE RETIRED IN 1963 AFTER OVER THIRTY-NINE YEARS OF TEACHING. AFTER RETIREMENT, SHE RESIDED IN VULCAN AND PASSED AWAY THERE ON 15 FEBRUARY 1994 AT THE AGE OF 94 YEARS. THE RESEARCH CONDUCTED TO LOCATE THE DONOR’S NEXT-OF-KIN WAS UNSUCCESSFUL. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE FULL OBITUARY.
Catalogue Number
P19910041058
Acquisition Date
1991-06
Collection
Museum
Images
Less detail
Other Name
BLANKET
Material Type
Artifact
Materials
COTTON, VELVET, WOOL
Catalogue Number
P19960018001
  1 image  
Material Type
Artifact
Other Name
BLANKET
Date
1919
Materials
COTTON, VELVET, WOOL
No. Pieces
1
Length
177
Width
164.5
Description
BACK OF QUILT IS A BURGUNDY COTTON SATEEN. TOP HAS THIS BORDER ALONG 2 SIDES. IS THEN DIVIDED INTO SQUARES THAT HAVE WHITE CRISS-CROSS STITCHES ON OUTSIDE OF EACH SQUARE. SQUARES ARE COTTON (AND WOOL?) AND ARE ALMOST ALL IN DARK TONES OF GREEN, GREY, PURPLE, PINK, BLUE AND BROWN. EACH SQUARE HAS A DIFFERENT DESIGN. ON THE TOP RIGHT IS PINK FLOWER WITH GREEN LEAVES WITH PINK AND YELLOW, AND GREEN AND YELLOW SAME DESIGN DECORATIONS IN THE CORNERS. BOTTOM RIGHT IS SAME COLOUR BROWN BACKGROUND WITH STEM THAT HAS THREE PINK, YELLOW AND WHITE FLOWERS WITH PINK AND WHITE SAME DESIGNS IN CORNERS. TOP LEFT IS SAME BROWN WITH A DIAGONAL LINE OF PINKISH-ORANGE FLOWERS ON A YELLOW VINE WITH THE SAME FLOWERS IN THE OTHER TWO CORNERS. AT BOTTOM IS AQUA VELVET GEOMETRICAL DESIGN PATCH WITH WHITE AND BROWN CANE EMBROIDERED. OTHER PATCHES HAVE NAMES OF WOMEN EMBROIDERED AND FLORAL AND OTHER PATTERNS. IN MIDDLE VERTICAL ROW, THIRD HORIZONTAL ROW THE PATCH IS SALMON AND READS IN BLUE "SIONS LADIES AID". ON REVERSE HAS A FEW LOOSE THREADS AND MINOR HOLES WORN IN FABRIC.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
COMMEMORATIVE
History
EACH SQUARE OF QUILT WAS MADE BY SOMEONE IN THE SION'S LADIES AID IN ENCHANT IN THE SUNDIAL AREA (1919). THIS AID WAS UNDER THE LUTHERAN CHURCH. SOME OF THE PEOPLE ON THE QUILT ARE RELATED TO DONOR. MRS. C.K. ENGEN-GRANDMA, MRS. H.C. DUNN-MOTHER, MERLENE DUNN-TWIN SISTER, WHO IS ONLY ONE STILL ALIVE ON THE QUILT WHEN DONATED IN 1996 BESIDES DONOR. FOR MORE INFORMATION PLEASE REFER TO PERMANENT FILE AND PREVIOUS DONATIONS BY DONOR. PERMANENT FILE INCLUDES COPY OF ARTICLE PUBLISHED IN LETHBRIDGE LIVING MAGAZINE AND RESEARCH SUBMISSION OF BIOGRAPHIES RELATED TO QUILT’S INDIVIDUAL PERSONALITIES, DISPLAYED AS SIGNATURES ON QUILT. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0263” BY THE ALBERTA QUILT PROJECT.
Catalogue Number
P19960018001
Acquisition Date
1996-05
Collection
Museum
Images
Less detail
Other Name
BED HALF SHEET
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19738218000
Material Type
Artifact
Other Name
BED HALF SHEET
Date Range From
1900
Date Range To
1910
Materials
COTTON
No. Pieces
1
Length
165.1
Width
88.9
Description
CROSS STITCH DESIGN, CROCHETED EDGING. COLOURS: GREEN, BLACK, RED, WINE, ORANGE, YELLOW, BLUE, PINK, PURPLE UKRAINIAN FLORAL PATTERN. DECORATED HALF SHEET APPARENTLY FOR DISPLAY PURPOSES.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
DOMESTIC
History
UKRAINIAN. EMBROIDERED IN JUROVA BY MARY VARZARI. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738218000
Acquisition Date
1966-04
Collection
Museum
Less detail
Date Range From
1939
Date Range To
1945
Material Type
Artifact
Materials
SILK, COTTON
Catalogue Number
P20190010002
  2 images  
Material Type
Artifact
Date Range From
1939
Date Range To
1945
Materials
SILK, COTTON
No. Pieces
1
Length
43.1
Width
42.1
Description
OLIVE GREEN SILK PILLOWCASE WITH BROWN TRIM AT TOP EDGE; PILLOWCASE HAS STENCILED, PAINTED IMAGE ON FRONT, WITH A WHITE BULLDOG SITTING ON A BLUE, RED, AND WHITE UNITED KINGDOM FLAG ON A RED BANNER WITH WHITE BORDERS AND BLACK TEXT, “CANADA”; IMAGE HAS A BLACK SHIELD IN THE CENTER WITH WHITE PINE NEEDLES AND PINECONES ON THE LEFT SIDE, RED MAPLE LEAVES AND A RED AND BLUE SHIELD WITH A BLUE CROWN ON TOP, AND A BLACK AND RED SHIP ON WHITE AND BLUE WAVES; RIGHT SIDE OF SHIELD HAS CLUSTER OF THREE UNITED KINGDOM FLAGS, GREY AND WHITE PLANE, AND SOLDIER PAINTED IN WHITE AND BLACK BESIDE A WHITE AND RED TANK; INSIDE OF SHIELD IS WHITE PAINTED TEXT, “SWEETHEART, I THOUGHT THAT YOU WOULD LIKE TO KNOW, THAT SOME ONES THOUGHTS GO WHERE YOU GO, THAT ONE NEVER CAN FORGET, THE HOURS WE SPENT SINCE FIRST WE MET, THAT LIFE IS RICHER SWEETER FAR, FOR SUCH A SWEETHEART AS YOU ARE, AND NOW MY CONSTANT PRAYER WILL BE, THAT GOD MAY KEEP YOU SAFE FOR ME.” PILLOWCASE HAS BROWN BACK LINING; BOTTOM EDGE OF CASE HAS GREEN THREAD STITCHING BACKING TO SILK COVER. TOP SILK EDGE OF CASE IS TORN AND FRAYED; FRONT OF PILLOWCASE IS STAINED AND PAINT IS FADED; BACK OF PILLOWCASE IS STAINED WITH RIPS; FRONT OF PILLOWCASE HAS RIP IN CENTER THAT GOES THROUGH TO THE BACK; OVERALL GOOD CONDITION.
Subjects
BEDDING
Historical Association
MILITARY
DECORATIVE ARTS
FURNISHINGS
History
ON JUNE 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CAROL DARMODY REGARDING HER DONATION OF OBJECTS RELATED TO HER PARENTS, IRENE (NEE NAGY) AND JOHN FROUWS. ON THE PILLOWCASE, DARMODY SHARED, “DAD SENT [THE PILLOWCASE] FROM OVERSEAS, TO MOM…[THE PILLOW CASE] COULD HAVE COME FROM BRITAIN…IT WAS A PILLOW, I THINK, AT ONE TIME…HE DID SEND A FEW THINGS, BUT IT WAS MAINLY THE LETTER-WRITING BACK-AND-FORTH. HE MADE SURE MOM SENT BOXES OF COOKIES, AND DIFFERENT THINGS…MORE PSYCHOLOGICAL, THAN NEEDING THE COOKIES.” ON HER FATHER’S SERVICE IN THE CANADIAN MILITARY, DARMODY RECALLED, “I THINK IT WAS POVERTY [THAT MOTIVATED DAD TO ENLIST]…DAD STRUGGLED IN THE 1930S. HE WAS PULLED OUT OF GRADE 11 TO WORK IN THE COAL MINE, AND HE GOT A LUCKY BREAK FROM BILL HOPE, TO WORK IN GALT GARDENS WITH PLANTS, BEFORE HE SIGNED UP [FOR THE WAR EFFORT]. THAT WAS SIGNIFICANT, AND THEY BECAME FRIENDS WHEN HE RETURNED FROM THE WAR, TOO…HE WAS A GOOD MENTOR TO DAD, AND THAT’S WHERE THE KNOWLEDGE OF PLANTS GREW. [DAD] ENLISTED, BECAUSE THEN HE HAD A CHOICE. HE DIDN’T WANT TO FIGHT IN THE FRONT-LINE, SO, IF YOU VOLUNTEERED EARLY, YOU GOT TO PICK AND CHOOSE WHAT YOU WANTED TO DO, SO HE PICKED ELECTRICAL ENGINEER, AND HE WAS REALLY WELL-TRAINED.” “MY DAD’S FAMILY CAME [FROM HOLLAND] IN THE ‘20S—’25—AND HIS DAD WANTED TO BE A FARMER HERE, AND HE WAS THE OLDEST, SO HE AGREED TO EMIGRATE FROM HOLLAND. THERE WASN’T ENOUGH LAND [IN HOLLAND]…AND HE DECIDED HE WANTED TO FARM SOMEWHERE ELSE, ‘CAUSE IT WOULDN’T HAVE WORKED OUT STAYING IN HOLLAND. SO, BECAUSE HE DIED IN THE ‘30S, TRYING TO SAVE THAT LITTLE BOY…WHO HAD FALLEN THROUGH THE ICE NEAR THE WEIR IN THE OLDMAN RIVER. THEY BOTH DROWNED…BUT HE HAD A FEW FAILURES, I THINK, WITH FARMING, AND HE DID WORK FOR THE COAL MINING COMPANY…WHEN HE DIED, THE CITY OF LETHBRIDGE GAVE HIS WIDOW, AND THE FAMILY, $30.00 A MONTH [I THINK IT WAS RELIEF MONEY]. SO DAD WAS HIGHLY-MOTIVATED. HE DIDN’T WANT TO GO OVERSEAS, AND BE KILLED…BUT, IF HE SIGNED UP EARLY, HE COULD PICK AND CHOOSE WHAT HE WANTED TO DO, AND START SENDING MONEY TO HIS MOTHER…ONLY DAD’S OLDEST SIBLING, GERTRUDE, WAS MARRIED. HIS OTHER SIBLINGS, ALICE, TINA, HARRY, AND JIM WERE YOUNGER AND NOT ABLE TO FINANCIALLY SUPPORT THEIR MOTHER. THE THREE YOUNGEST WERE STILL IN SCHOOL…THEY WEREN’T OF AN AGE WHERE THEY COULD WORK, AND SUPPORT THE MOTHER. SO, HE WAS IN A GOOD POSITION TO DO SO, BY SIGNING UP [FOR THE MILITARY IN 1940].” “[DAD] REALLY FELT CANADIAN, THROUGH-AND-THROUGH…AS A KID, HIS PARENTS TRUSTED HIM. HE WOULD BE GONE ALL WEEKEND, AT ALEXANDER WILDERNESS, JUST CAMPING WITH A FRIEND. THEY DIDN’T WORRY ABOUT HIM AT THE RIVER BOTTOM. HE LOVED THE COULEES…THIS WAS HOME. HOLLAND DIDN’T MEAN ANYTHING TO HIM, BECAUSE HE WAS SO YOUNG WHEN HE CAME HERE…HIS MOM COULDN’T GO BACK, AND SHE PROBABLY HADN’T BONDED AS WELL TO SOUTHERN ALBERTA, ESPECIALLY WITHOUT HER HUSBAND…THE IRONY…HE SPENT A LOT OF TIME IN HOLLAND [DURING THE SECOND WORLD WAR], AND HE WAS AN ASSET, BECAUSE HE COULD SPEAK SOME DUTCH, I’M NOT SURE HOW WELL, BUT IN EMERGENCIES THEY WOULD USE HIM. ONE GERMAN WOMAN WAS HIT BY ONE OF THE FORCES. SHE WAS OK, BUT HE HAD TO TAKE HER HOME. HE KNEW ENOUGH TO COMMUNICATE IN GERMAN, AND IN DUTCH, WITH THE FAMILY, WHAT HAD HAPPENED. BUT, HE WASN’T A CANADIAN CITIZEN…THEY JUST QUIETLY GAVE HIM HIS PAPERS LIKE, CAME TO HIS HOUSE…I DON’T KNOW WHEN THAT WAS…HE JUST NEVER THOUGHT OF IT, AND HE SERVED OVERSEAS. AND, AT THE END, I GUESS, OR MAYBE DURING…THEY FOUND OUT HE WASN’T CANADIAN, SO THEY QUIETLY GAVE HIM THE PAPER.” DARMODY ELABORATED ON HER PARENTS’ RELATIONSHIP, NOTING, “FOR DAD, [THE RELATIONSHIP WITH MOM] STARTED REALLY EARLY. MOM WAS 4 YEARS OLDER, AND HE FELL IN LOVE WITH HER WHEN HE WAS A LITTLE BOY. HE WOULD PLAY WITH HER YOUNGEST BROTHER, BUT 3-4 YEARS [AGE DIFFERENCE WHEN] YOU’RE YOUNG, IS A LOT…HE PROBABLY WAS A NICE KID, BUT SHE DIDN’T SHOW ANY INTEREST. BUT HE FELL IN LOVE WITH HER EARLY, AND HE PROCEEDED…MOM WOULD HAVE BEEN [LIVING] IN DIAMOND CITY. DAD MIGHT HAVE BEEN ON THE NORTH SIDE THEY HAD A LITTLE HOUSE.” “THINGS WERE HAPPENING DURING THE GREAT DEPRESSION. MY MATERNAL GRANDMOTHER [VERONA NAGY], HAD AN EXTREMELY UNHAPPY MARRIAGE. MY GRANDFATHER [STEVE NAGY], ALLEGEDLY DRANK TOO MUCH AND WOULD OFTEN SQUANDER HIS MEAGRE COAL-MINING EARNINGS ON ALCOHOL. IN 1933, SHE DECIDED TO HOMESTEAD IN PEACE RIVER AREA [HARMON VALLEY]. HER THIRD OLDEST SON [LEWIS] CAME WITH HER, AND HE BUILT HER A LOVELY LOG CABIN. DURING THE DEPRESSION, MOM [IRENE NAGY] SPENT TIME IN CHICAGO WITH HER BROTHER STEVE AND HIS FAMILY. SHE ALSO ALTERNATED BETWEEN LETHBRIDGE AND PEACE RIVER. IN PEACE RIVER THEY HAD LOTS TO EAT BUT VERY LITTLE MONEY. THROUGH HER YOUNGEST BROTHER, MITCH, MOM MOST LIKELY LEARNED THAT DAD WAS ABOUT TO ENLIST IN [THE SECOND WORLD WAR]. IN 1939, MY PARENTS ALLEGEDLY STARTED DATING. THEY WOULD SPEND LOTS OF TIME IN THE COULEES HAVING PICNICS AND PICKING SASKATOON BERRIES…THE THIRD OLDEST BROTHER, AND ALL HER SIBLINGS, EXCEPT FOR HER SISTER, MARY, MOVED EVENTUALLY TO PEACE RIVER, AND JUST THE TWO SISTERS REMAINED. DAD ASKED MOM, WHEN THEY MARRIED IN ’43, TO MAKE HER HOME BASE LETHBRIDGE. SHE WAS GOING BACK AND FORTH…TO HELP HER MOM.” “THEY STARTED TO COURT IN THE ‘40S [AND MARRIED IN 1943], BECAUSE HE GOT A LEAVE FROM THE TRAINING CAMP IN ONTARIO…SHE WAS IN PEACE RIVER AT THE TIME, WHEN HE ASKED HER TO MARRY HIM, AND HE WAS ON A SHORT LEAVE. HE TOOK HIS MOTHER, IN HIS CAR, FROM LETHBRIDGE TO PEACE RIVER, AND IT WAS LIKE A MAJOR EXCURSION ON GRAVEL ROADS, TO MEET MOM, AND THEN THE TWO MOTHERS WERE TOGETHER.” DARMODY ELABORATED ON HOW SHE OBTAINED HER PARENTS’ COLLECTION INCLUDING THE TROPHY, NOTING, “[THE OBJECTS CAME INTO MY POSSESSION TOGETHER]…WHEN DAD DIED…[IN] 2011.” “[I WANTED TO KEEP THEM BECAUSE] THEY CONNECT ME TO THE PAST, AND WHEN…THE FORMER GOVERNOR-GENERAL’S WIFE WAS IN LETHBRIDGE, SHE WROTE THAT BOOK, ‘MATRONS AND MADAMS’, SHE SAID IT USUALLY TAKES 3-4 GENERATIONS FOR THE WAR EFFECTS TO BE ELIMINATED, FROM THE GREAT-GREAT-GREAT GRANDKIDS, SO, I WAS INDIRECTLY AFFECTED BY THE WAR…I HAD TO TEACH SOCIAL STUDIES AT ONE POINT, IN VANCOUVER, SO I LEARNED, DID A LOT OF PREPARATION. DAD WAS SUPPORTING HIS WIDOWED MOTHER…AFTER 1943, HE WAS SENDING MONEY TO MOM. HE DIDN’T HAVE A LOT OF SPARE MONEY TO BUY THINGS AND SEND BACK HOME…SO THE THINGS HE SENT WERE HUMBLE.” ACCORDING TO THE SERVICE PAY BOOKS OF JOHN W. FROUWS HELD IN THE GALT ARCHIVES [20191038011], STAFF SERGEANT FROUWS [M-35922] ATTESTED WITH THE CANADIAN FORCES ON JUNE 3, 1941. THE WAR DIARY OF THE 10TH CANADIAN FIELD PARK COMPANY, ROYAL CANADIAN ENGINEERS, HELD IN THE GALT ARCHIVES [20191038023] DETAILS THE ACTIONS OF ST. SGT. FROUWS AND HIS COMPANY. AT CAMP PETAWAWA, ONTARIO IN 1942, THE 10TH CANADIAN FIELD PARK COMPANY TOOK ON MEMBERS OF THE 2ND CORPS. FIELD PARK COMPANY, R.C.E., AND ON JULY 22ND, 1942 THE UNIT WAS CHANGED TO THE 2ND CORPS. FIELD PARK COMPANY, R.C.E. ON AUGUST 14TH, 1943, THE NEW WAR ESTABLISHMENT CREATED AN ELECTRICAL AND MECHANICAL UNIT WITHIN THE FIELD PARK COMPANY. AN ENTRY FROM MARCH 1, 1943 RECORDS FROUWS AS BEING PROMOTED FROM L.CPL. TO A.CPL. AT CAMP PETAWAWA, ONTARIO. FROUWS WAS FURTHER PROMOTED TO L.SGT. ON JUNE 24, 1943 AT ALDERSHOT, NOVA SCOTIA, TO A.SGT. ON JULY 26, 1943, AND TO S.SGT. ON SEPTEMBER 29, 1943 AT MICKLEHAM, SURREY, ENGLAND. THE 2ND CORPS. FIELD PARK COMPANY MOVED FROM CAMP PETAWAWA, ONTARIO TO HALIFAX, NOVA SCOTIA BEFORE PROCEEDING TO ENGLAND IN AUGUST 1943. THE UNIT SAILED FROM ENGLAND TO JUNO BEACH, NORMANDY IN TWO PARTS ON JULY 11, 1944. ON JULY 14, 1944, S.SGT. FROUWS WAS LISTED AS ACCOMPANYING L.CPL. TRETHEWAY IN “DE-BOOBY-TRAPPING” THE TELEPHONE EXCHANGE IN CAEN, FRANCE. THE COMPANY PROCEEDED THROUGH HOLLAND AND BELGIUM IN 1944 AND 1945, STATIONING AT NIJMEGEN, HOLLAND ON SEPTEMBER 22, 1944, BOURG LEOPOLD, BELGIUM ON SEPTEMBER 29, 1944, WEMMEL, BELGIUM ON OCTOBER 2, 1944, KESSEL, BELGIUM ON OCTOBER 10, 1944, AND TILBURG, HOLLAND BY NOVEMBER 1944. THE COMPANY REMAINED IN HOLLAND UNTIL APRIL 19, 1945, WHEN IT MOVED TO NORDHORN, GERMANY AND REMAINED THROUGH VE DAY ON MAY 9, 1945. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF THE LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190010001-GA.
Catalogue Number
P20190010002
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Other Name
BLANKET STRIP
Date Range From
1890
Date Range To
1900
Material Type
Artifact
Materials
BUCKSKIN, BEADS, SINEW
Catalogue Number
P19739145000
  1 image  
Material Type
Artifact
Other Name
BLANKET STRIP
Date Range From
1890
Date Range To
1900
Materials
BUCKSKIN, BEADS, SINEW
No. Pieces
1
Length
106.7
Width
8.9
Description
GEOMETRIC BEADWORK PATTERN WITH CROSS IN CIRCLE MOTIF REGULARLY SPACED. BACKED ON BUCKSKIN. ARTIFACT APPEARS COMPLETE. BEADS ARE RED, GREEN, WHITE, BLUE, YELLOW. BUCKSKIN BACKING SOILED, WORN. SEE CONSERVATION REPORT. *NOTE* LOOSE TASSELS
Subjects
BEDDING
PERSONAL GEAR
INDIGENOUS
Historical Association
DECORATIVE ARTS
ETHNOGRAPHIC
History
DESIGN & CONSTRUCTION METHOD INDICATE SIOUX ORIGINS. BLANKET STRIPS ORIGINAL USE TO JOIN A BUFFALO ROBE USED AS A BLANKET. WITH TRADE BLANKETS, STRIPS BECAME MORE DECORATIVE THAN FUNCTIONAL, OFTEN USED TO JOIN COURTING BLANKETS OF DIFFERENT COLORS. STRIPS OVER TIME BECAME LARGER IN WIDTH & FANCIER. MAY HAVE BEEN ASSOCIATED WITH SIOUX IN CANADA, OR TRADED/GIFT TO ALBERTA NATIVE.
Catalogue Number
P19739145000
Acquisition Date
1973-
Collection
Museum
Images
Less detail
Other Name
BED SHEET
Material Type
Artifact
Materials
LINEN
Catalogue Number
P19920058022
Material Type
Artifact
Other Name
BED SHEET
Date
1835
Materials
LINEN
No. Pieces
1
Height
0.1
Length
303.0
Width
207.0
Description
WHITE, RECTANGULAR, LINEN. EACH END OF SHEET IS HEMMED; SIDE EDGES ARE RAW, BUT IN GOOD CONDITION. WRITTEN IN ONE CORNER IS "1835 R. SHERLOCK 3", IN BROWN; FADING. SHEET IS OTHERWISE PLAIN. APPEARS DIRTY; HAS MULTIPLE STAINS AND MARKS ON IT. HAS MINOR WEAR; ONLY ONE SMALL HOLE.
Subjects
BEDDING
Historical Association
DOMESTIC
History
BELONGED TO SHERLOCK FAMILY. SEE P19920058006-GA FOR HISTORY. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED BY MARJORIE WELCH'S MOTHER, NORA EVERSON. FOR FURTHER INFORMATION ABOUT THE SHERLOCK/MACLEOD FAMILY, SEE RECORDS P19960108000 AND P19740093000.
Catalogue Number
P19920058022
Acquisition Date
1993-11
Collection
Museum
Less detail
Other Name
BED SHEET
Date Range From
1850
Date Range To
1880
Material Type
Artifact
Materials
LINEN
Catalogue Number
P19920058021
Material Type
Artifact
Other Name
BED SHEET
Date Range From
1850
Date Range To
1880
Materials
LINEN
No. Pieces
1
Height
0.1
Length
215.0
Width
144.5
Description
RECTANGULAR, WHITE, LINEN. ENDS ARE HEMMED; SIDE EDGES ARE RAW, BUT IN GOOD CONDITION. EMBROIDERED, IN BLUE, IN ONE CORNER IS "C C S". THIS CORNER OF THE SHEET IS MADE OUT OF AN ADDITIONAL RECTANGLE OF FABRIC, SEWN TO THE MAIN PIECE. SHEET HAS A 6.5 CM TEAR IN IT, AND A FEW SMALLER TEARS AND HOLES IN THE SAME GENERAL AREA. MULTIPLE BROWN STAINS AND SPOTS THROUGHOUT.
Subjects
BEDDING
Historical Association
DOMESTIC
History
SEE P19920058006-GA FOR HISTORY. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED BY MARJORIE WELCH'S MOTHER, NORA EVERSON. FOR FURTHER INFORMATION ABOUT THE SHERLOCK/MACLEOD FAMILY, SEE RECORDS P19960108000 AND P19740093000.
Catalogue Number
P19920058021
Acquisition Date
1993-11
Collection
Museum
Less detail

21 records – page 1 of 2.