Skip header and navigation

43 records – page 1 of 3.

Other Name
CINCTURE
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19970041744
Material Type
Artifact
Other Name
CINCTURE
Date Range From
1930
Date Range To
1940
Materials
WOOL
No. Pieces
1
Length
288
Diameter
1
Description
BLACK ROPE BELT IS WOVEN WOOLEN ROPE WITH BLACK TASSELED ENDS.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
CINCTURE IS THE ROPE BELT USED TO HOLD CLOSED A PRIEST'S ROBES. CINCTURE BELONGED TO DONOR'S FATHER, REV. G.G. NAKAYAMA. THE NAKAYAMA FAMILY WAS ORIGINALLY FROM VANCOUVER BUT MOVED TO COALDALE FOLLOWING THE SECOND WORLD WAR WHEN THEY WERE INTERNED AT SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA BY THE CANADIAN GOVERNMENT. THE DONOR'S FATHER, REV. CANON G.G. NAKAYAMA, WAS AN ANGLICAN MINISTER IN VANCOUVER, AND THEN ESTABLISHED THE CHURCH OF THE ASCENSION IN COALDALE IN 1945 WHERE HE SERVED UNTIL 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041744
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
CINCTURE
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19970041745
Material Type
Artifact
Other Name
CINCTURE
Date Range From
1950
Date Range To
1960
Materials
WOOL
No. Pieces
1
Length
350
Diameter
1.3
Description
BLACK ROPE BELT IS WOVEN WOOLEN ROPE WITH BLACK TASSELED ENDS.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
CINCTURE IS THE ROPE BELT USED TO HOLD CLOSED A PRIEST'S ROBES. CINCTURE BELONGED TO DONOR'S FATHER, REV. G.G. NAKAYAMA. THE NAKAYAMA FAMILY WAS ORIGINALLY FROM VANCOUVER BUT MOVED TO COALDALE FOLLOWING THE SECOND WORLD WAR WHEN THEY WERE INTERNED AT SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA BY THE CANADIAN GOVERNMENT. THE DONOR'S FATHER, REV. CANON G.G. NAKAYAMA, WAS AN ANGLICAN MINISTER IN VANCOUVER, AND THEN ESTABLISHED THE CHURCH OF THE ASCENSION IN COALDALE IN 1945 WHERE HE SERVED UNTIL 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041745
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
SKIRT AND BLOOMER SET
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20000085003
  2 images  
Material Type
Artifact
Other Name
SKIRT AND BLOOMER SET
Date Range From
1920
Date Range To
1930
Materials
COTTON
No. Pieces
2
Length
120.0
Width
48.0
Description
1. BLOOMERS. NAVY BLUE, WITH WHITE TRIM. HAS A TURNED DOWN COLLAR, WITH FOUR ROWS OF WHITE TRIM ON IT. FRONT OPENING, TO JUST BELOW WAISTLINE, CLOSES WITH 6 BLACK, BAKELITE BUTTONS. FRONT CLOSURE HAS TWO ROWS OF WHITE TRIM ON IT. SHORT SLEEVES ALSO HAVE TWO ROWS OF WHITE TRIM ON THEM. THERE IS A WORN AND FRAYED, WHITE CLOTH TAG INSIDE BACK OF NECKLINE. ONE LEG HAS BEEN SLIGHTLY BLEACHED AND BLOOMERS HAVE NUMEROUS WORN SPOTS AND HOLES THROUGHOUT. 2. SKIRT. NAVY BLUE WITH WHITE TRIM. GO WITH ABOVE BLOOMERS. WAISTBAND HAS 5 BUTTONHOLES AROUND IT. BACK OF SKIRT HAS AN OPENING WITN NO CLOSURE. BACK OF SKIRT HAS BEEN SLIGHTLY BLEACHED. ALSO HAS NUMEROUS WORN SPOTS AND HOLES.
Subjects
CLOTHING-UNDERWEAR
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
History
SEE P20000085001-GA FOR HISTORY. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A BLOUSE DONATED BY BEV NAGATA. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. BEVERLY “BEV” NAGATA IS THE DAUGHTER OF FREDRICK I. SAUTER AND NORA JEAN SAUTER (NEE MCCOY). FREDRICK “FRED” I. SAUTER WAS BORN ON FEBRUARY 12, 1920, THE SON OF CHARLES SR. AND MARY SAUTER (MAIDEN NAME UNKNOWN). ACCORDING TO HIS OBITUARY, HE WAS THE FIRST BABY BORN IN THE TOWN OF VAUXHALL, AB. HE OWNED AND OPERATED SAUTER’S GENERAL SUPPLIES FOR THREE TO FOUR DECADES. HE PASSED AWAY AT THE AGE OF 88 ON NOVEMBER 9, 2008. NORA JEAN SAUTER (NEE MCCOY) WAS BORN IN PORT ALBERNI, BC ON APRIL 1, 1913, THE DAUGHTER OF JOHN AND HATTIE MCCOY (MAIDEN NAME UNKNOWN) AND TWIN OF DAVID MCCOY. SHE WAS RAISED AND EDUCATED IN EDMONTON AND GRADUATED FROM THE EDMONTON GENERAL HOSPITAL AS A NURSE. SHE ALSO ATTENDED MCGILL UNIVERSITY AND RECEIVED A DIPLOMA IN PUBLIC HEALTH NURSING. SHE BEGAN AS A PUBLIC HEALTH NURSE IN VAUXHALL, IN 1940. SHE WAS MARRIED TO FRED SAUTER ON AUGUST 20, 1942. NORA PASSED AWAY AT THE AGE OF 90 ON JULY 10, 2003. CHARLES R. SAUTER SR. WAS THE FIRST RESIDENT OF VAUXHALL AND WORKED FOR THE PIONEER LUMBER COMPANY. HE WAS ALSO REPORTEDLY THE FIRST RESIDENT OF VAUXHALL TO OWN A CAR. HE PASSED AWAY AT THE AGE OF 76 ON AUGUST 4, 1969. MARY SAUTER (MAIDEN NAME UNKNOWN) PASSED AWAY AT THE AGE OF 83 ON FEBRUARY 3, 1978. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD.
Catalogue Number
P20000085003
Acquisition Date
2001-07
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN EMBROIDERED
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
LINEN
Catalogue Number
P19738272000
  1 image  
Material Type
Artifact
Other Name
UKRAINIAN EMBROIDERED
Date Range From
1900
Date Range To
1910
Materials
LINEN
No. Pieces
1
Length
61.0
Description
SIZE M. TRADITIONAL UKRAINIAN PATTERN, SILK EMBROIDERED. COLORS BROWN, ORANGE, BLUE, YELLOW, PURPLE, ON A PLAIN LINEN BACKGROUND. UNHEMMED BOTTOM, NO COLLAR, NO CUFFS (GATHERED WRIST). FLORAL PATTERN IS EMBROIDERED ON ARMS. BROWN FLORAL PATTERN SEWN VERTICALLY FROM SHOULDER OVER TO FRONT AROUND WAIST. EMBROIDERY AROUND NECK PIECE IS WORN & MOSTLY MISSING. THERE ARE TWO YELLOW YARN TIES AT NECK TO HOLD FLAPS CLOSED.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*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
P19738272000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN EMBROIDERED
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19740069000
  1 image  
Material Type
Artifact
Other Name
UKRAINIAN EMBROIDERED
Date Range From
1900
Date Range To
1910
Materials
COTTON
No. Pieces
1
Description
SIZE: MEDIUM. HANDMADE. UKRAINIAN FLORAL & GEOMETRIC PATTERNS DONE IN TRADITIONAL CROSS-STITCH ON WHITE. PINK CROCHET THREAD USED AT NECK TO MAKE LOOPED PATTERN TO THREAD A DRAWSTRING. DRAWSTRING MADE OF INTERTWINED PINK, RED & GREEN THREAD WITH 2 POMPONS AT ENDS OF PINK, GREEN, RED, WHITE, WINE & ORANGE. ELBOW LENGTH SLEEVES, GATHERED WITH ELASTIC & TRIMMED WITH PINK CROCHET.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
SENT TO DONOR FROM HUSBAND'S NIECE, MRS. STEFFA HOROBEC, WHO LIVES IN WESTERN UKRAINE, VILLAGE OF ZELENA, COUNTY OF TERNOPOL.
Catalogue Number
P19740069000
Acquisition Date
1974-07
Collection
Museum
Images
Less detail
Date Range From
1912
Date Range To
1915
Material Type
Artifact
Materials
LEATHER, BEAD, COTTON
Catalogue Number
P19780209000
  1 image  
Material Type
Artifact
Date Range From
1912
Date Range To
1915
Materials
LEATHER, BEAD, COTTON
No. Pieces
1
Length
76.2
Width
50.8
Description
PONCHO OR CAPE. THE TOP COMPLETED BEADED IN AN INTRICATE GEOMETRIC PATTERN USING MANY DIFFERENT COLOURED BEADS. LEATHER THONG FRINGES ALONG EDGES. BOTTOM HAS BEIGE COTTON LINING (BROWN WITH AGE). HOLE IN THE CENTRE WITH BLACK CLOTH LINING. FRINGE SEPARATING FROM LEATHER BODY; DRYING. SMALL HOLE IN BEADING.
Subjects
INDIGENOUS
CLOTHING-OUTERWEAR
ADORNMENT
Historical Association
ETHNOGRAPHIC
History
ACQUIRED FROM JOE HEALY A BLOOD TRIBE MEMBER BY DONOR'S HUSBAND HERBERT HUSBAND ABOUT 1912. SEE P197800207000-GA FOR HISTORY. ON 26 JANUARY 2011, GALT CURATOR WENDY AITKENS PROFILED THIS CAPE (P19780209000) AS PART OF HER CURATOR PRESENTS’ FAKES AND FORGERIES PROGRAM. AITKENS WAS INFORMED BY COLLECTIONS STAFF THAT THE CAPE WAS FEATURED IN A GALT-SUBMITTED, LETHBRIDGE LIVING MAGAZINE ARTICLE (ON FILE), AUTHORED BY FORMER GALT STAFF MEMBER DR. JANAY NUGENT IN 1999. MRS. PAULINE DEMPSEY, GRANDDAUGHTER OF JOE HEALY, RECALLED IN FEBRUARY 2011 THAT SHE CONTACTED DR. NUGENT AFTER THE ARTICLE’S PUBLICATION TO INFORM HER HAT SHE QUESTIONED THE ARTICLE-CLAIMED MAKER(S) OF THE CAPE, FEELING IT WAS NOT OF BLACKFOOT DESIGN. JOE HEALY, ACCORDING TO DEMPSEY, TRAVELLED EXTENSIVELY AND SHE THOUGHT IT WAS MORE LIKELY THAT THE CAPE WAS GIVEN TO HIM WHEN HE VISITED OTHER TRIBES. BIOGRAPHICAL INFORMATION ON DONORS META AND HERBERT HUSBAND, AS PROVIDED BY KOOTENAI BROWN PIONEER VILLAGE CURATOR FARLEY WUTH ON 17 FEBRUARY 2011, CAN BE FOUND IN THE PERMANENT FILE. *UPDATE* IN 2014 LOUISE-MARIE CROP EARED WOLF, A MEMBER OF THE KAINAI (BLOOD TRIBE), AND A FOURTH YEAR NATIVE AMERICAN STUDIES MAJOR AT THE UNIVERSITY OF LETHBRIDGE COMPLETED AN APPLIED STUDIES PROJECT WITH THE COLLECTIONS DEPARTMENT AT THE GALT MUSEUM. SHE PHOTOGRAPHED ETHNOGRAPHIC ARTIFACTS ASSOCIATED WITH FIRST NATIONS CULTURES IN SOUTHERN ALBERTA AND WROTE THE FOLLOWING TEXT TO PRESENT HER FOCUSED RESEARCH ON FOUR SPECIFIC ARTIFACTS (P19641186000, P19780209000, P19780208000, AND P19790235000): “I WANT TO DISPLAY THE KAINAI WOMEN BEADED ITEMS FROM THE GALT MUSEUM COLLECTIONS FOR THEIR ARTISTIC MERIT AND NOT JUST FOR THEIR ETHNOLOGICAL VALUE. THE FOUR ARTIFACTS SELECTED ARE REPRESENTATIVE OF FOUR GENERATIONS OF BEADERS: GRANDMOTHERS, MOTHERS, SISTER, AND DAUGHTERS. THE COLOURS ARE MEANINGFUL AND THE TRADITIONAL SYMBOLS ARE USED THROUGHOUT. THE ADHERENCE TO THE TRADITION, HOWEVER, DOES NOT SUPPRESS ARTISTIC EXPRESSION; THE BEADERS USE A FAIR DEGREE OF CREATIVITY IN THEIR CHOICE OF MATERIALS, SYMBOLS AND COLORS. THE ART OF BEADING IS NOT A “DYING ART” – IT IS THE ARTISTS, ARTISTIC EXPRESSION AND IT IS A “LIVING ART”. FOR GENERATIONS, KAINAI WOMEN BEADERS AND CLOTHING DESIGNERS HAVE BEEN MAKING CLOTHING FOR THE ENTIRE COMMUNITY. THE BEADED CLOTHING HONOURS THE FAMILY FROM ONE GENERATION TO THE NEXT IN A CONTINUOUS CIRCLE OF HONOURING. THE BEADED CLOTHING AND ACCESSORIES SUCH AS MOCCASINS, LEGGINGS, AND BELTS, COMMUNICATE THE IMPORTANCE OF THE FAMILY AND ILLUSTRATE HOW TRADITIONS ARE PASSED DOWN THROUGH GENERATIONS. THE BEADED WORK CONNECTS A BEADING ARTIST TO HER ANCESTORS. EVERY MOTIF, DESIGN, COLOUR OF SEED BEADS, STANDS FOR SOMETHING IMPORTANT TO THE ARTIST’S FAMILY, REFLECTING THE ARTIST’S SURROUNDINGS AND REINFORCING HER CULTURAL VALUES. LEARNING BY OBSERVATION, AN ARTIST PAYS RESPECT TO THE PAST, PRESENT, AND FUTURE KAINAI WOMEN BEADERS. THIS CAPE IS FULLY BEADED AND IS WORN OVER ELKS HIDE; DEER HIDE DRESS, OR CLOTH DRESS. TRADITIONAL GEOMETRIC AND NATURALISTIC MOTIFS ARE COMBINED INTO A DISTINCTIVE AND PERSONAL CREATIVE EXPRESSION. THIS TYPE OF CAPE IS WORN BY YOUNG GIRLS; THE PATTERNS AND SYMBOLS TELL STORIES THAT HONOUR HER COMMUNITY, HER FAMILY, AND HER ANCESTORS. THE END RESULT IS BOTH A CREATION OF UTILITARIAN AND AESTHETIC VALUE. THE BREAK IN PATTERN ON THE NAPE AREA IS DELIBERATE – THE UNIQUE SIGNATURE OF THE ARTIST WHO CREATED THE PIECE. THIS METHOD OF ‘AUTHENTICATING’ IS COMMONLY USED BY KAINAI BEADERS." *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING A PORTRAIT OF JOE HEALY, WHO WAS PURPORTEDLY THE ORIGINAL OWNER OF THIS CAPE. THE FOLLOWING BIOGRAPHY ON JOE HEALY WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES AND 'THE AMAZING DEATH OF CALFSHIRT: THREE HUNDRED YEARS OF BLACKFOOT HISTORY' BY HUGH DEMPSEY: POTAI'NA "FLYING CHIEF' JOE HEALY (LATER CALLED WOLF MOCCASIN) WAS BORN IN 1854 ON THE MONTANA BLACKFEET RESERVATION, TO THE LEADER OF THE BLOOD TRIBE, MANY BRAIDS. MANY BRAIDS HAD BECOME FRIENDLY WITH JOHN J. HEALY, CO-OPERATOR OF THE SUN RIVER CROSSING TRADING POST WITH ALFRED B. HAMILTON. DURING A ROUTINE VISIT TO THE TRADING POST, THE BLOODS' CAMP WAS RAIDED AT NIGHT BY A BAND OF PEND D'OREILLE WARRIORS. MANY BRAIDS, HIS WIFE, BABY AND TEENAGE DAUGHTER WERE KILLED IN THE CONFLICT, WHICH WAS WITNESSED BY JOHN HEALY. BEFORE HE DIED, MANY BRAIDS ASKED JOHN HEALY TO TAKE CARE OF HIS SON, FLYING CHIEF, THE ONLY SURVIVING MEMBER OF THE FAMILY. JOHN HEALY GAVE THE EIGHT YEAR OLD BOY THE NAME JOE HEALY, AND KEPT HIM AT THE TRADING POST UNTIL THE SUMMER, WHEN HE WAS ENROLLED IN THE SCHOOL AT NEARBY FORT SHAW. THERE JOE DEVELOPED HIS KNOWLEDGE OF ENGLISH. IN 1869, WHILE JOE WAS IN SCHOOL, HEALY AND HAMILTON WENT NORTH AND OPENED A TRADING POST AT THE CONFLUENCE OF THE OLDMAN AND ST. MARY RIVERS; THIS POST WOULD BECOME KNOWN AS FORT WHOOP-UP AND WAS INFAMOUS FOR ITS CONTRIBUTIONS TO THE WHISKEY TRADE AND VIOLENCE IN THE AREA UNTIL THE ARRIVAL OF THE NORTH-WEST MOUNTED POLICE IN 1874. THREE YEARS LATER, DUE TO A DECLINE IN THE BUFFALO POPULATIONS AND THUS THE ROBE MARKET, HEALY CLOSED THE SUN RIVER CROSSING POST AND MOVED TO FORT BENTON. JOE WAS NOW SIXTEEN AND WAS COMPELLED TO RETURN TO HIS RELATIVES AMONG THE BLOODS. HE FOLLOWED THE LAST BUFFALO HERDS WITH BULL SHIELD, AND JOINED IN RELIGIOUS AND WARFARE ACTIVITIES OF THE TRIBE. WHEN THE BLOODS SETLLED ON THEIR RESERVE IN 1881, JOE WAS THE ONLY MEMBER OF THE TRIBE WHO WAS FLUENT IN BLACKFOOT AND ENGLISH. HE WAS AN OUTSPOKEN SUPPORTER OF RELIGIOUS TRADITIONS AND DEFIED ATTEMPTS BY THE GOVERNMENT TO SUPRESS DANCES AND FESTIVALS. HE MARRIED WIDE NOSTRILS, THE DAUGHTER OF IRON PIPE, AND THEY HAD SIX DAUGHTERS AND FOUR SONS. JOE WORKED AS AN OFFICIAL INTERPRETER FOR THE GOVERNMENT WHEN A NEW TREATY WAS MADE IN 1883, AND AS A SCOUT FOR THE RNWMP. IN LATER YEARS HE CO-ORDINATED FIRST NATIONS' PARTICIPATION IN THE LETHBRIDGE EXHIBITION AND STAMPEDE. JOE HEALY DIED AT ST. PAUL'S MISSION ON THE BLOOD RESERVE IN 1936 AS ONE OF THE MOST RESPECTED PATRIARCHS OF THE BLOOD TRIBE.
Catalogue Number
P19780209000
Acquisition Date
1978-07
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
NYLON, COTTON
Catalogue Number
P19960116150
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
1970
Materials
NYLON, COTTON
No. Pieces
2
Length
140
Width
115
Description
1. CHASUBLE - BEIGE WITH RED AND BRONZE COLORED TRIM. GARMENT IS OVAL SHAPE AND FOLDS IN HALF TO BE WORN LIKE A PONCHO. NYLON FABRIC IS BEIGE WITH WOVEN MULTIPLE PATTERN OF GERMAN CROSSES INSIDE DIAMOND SHAPES WITH LAURELS AND FLOWERS AROUND IT. HOLE IN MIDDLE HAS FLY OPENING WITH SNAP CLOSURE. HAS ROUND COLLAR WITH RED AND BRONZE COLORED EDGING WITH GEOMETRIC PATTERNS ON IT. CHASUBLE HAS FABRIC CROSS WITH ARMS IN "Y" SHAPE ON FRONT AND BACK. CROSS IS MADE FROM 8CM WIDE NYLON BAND WITH GERMAN CROSSES AND STONE PAVEMENT PATTERN IN RED, BLACK AND BRONZE COLORS. AT CENTER OF FRONT IS OVAL CREST WITH CHI-RHO AND ALPHA AND OMEGA IN BRONZE COLORED STITCHING. CHASUBLE HAS MODERATE AMOUNT OF RUST STAINS. 2. STOLE - STOLE IS 9.5CM X 260CM IN SIZE AND IS NARROW AT MIDDLE AND TAPERS WIDER AT ENDS. FABRIC IS BEIGE AND SAME PATTERN AS CHASUBLE. STOLE HAS DEEP RED NYLON LINING AND COTTON LACE COLLAR ALONG MIDDLE. STOLE HAS GOLD COLORED NYLON TASSELS AT ENDS WITH RED, BLACK AND BRONZE BORDER. ALSO HAS THREE CROSSES SEWN TO IT IN SAME MATERIAL AS BORDER, ONE ON EACH END AND ONE IN MIDDLE.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
HEALTH SERVICES
History
CHASUBLE AND STOLE WERE REMOVED FROM THE CHAPEL AT ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. FOR MORE HISTORY ON HOSPITAL SEE P19960116001-GA.
Catalogue Number
P19960116150
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
NYLON, COTTON
Catalogue Number
P19960116151
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
1970
Materials
NYLON, COTTON
No. Pieces
2
Length
130
Width
115
Description
1. CHASUBLE: 125 X 115CM GREEN CHASUBLE IS OVAL SHAPE CLOTH THAT FOLDS IN HALF TO BE WORN LIKE A PONCHO. CHASUBLE IS GREEN FABRIC SHELL WITH BRONZE COLORED LINING. GREEN FABRIC HAS WOVEN PATTERN OF MULTIPLE CHI-RHO AND CROSSES. HAS ROUND COLLAR WITH NYLON BORDER WHICH IS RED AND BROWN WITH GOLD COLORED CROSS AND DIAMOND PATTERN. BACK HAS FLY OPENING WITH SNAP CLOSURE. FRONT AND BACK HAVE SEWN CROSSES WITH RAISED ARMS TO MAKE "Y" SHAPE. CROSS IS MADE FROM 9 CM WIDE EMBROIDERED BAND WITH GEOMTRIC PATTERNS IN BROWN, GOLD AND GREEN. CENTER CREST ON BREAST IS BROWN "Y" SHAPED CROSS WITH DESCENDING WHITE DOVE AND HAND HOLDING TWO FINGERS DOWN. GREEN ARMS OF CROSS EXTEND FROM HAND. 2. STOLE: 266 X 9CM NYLON STOLE IS MADE OF SAME MATERIAL AS CHASUBLE WITH IDENTICAL LINING AND BORDER MATERIAL. STOLE IS NARROW IN MIDDLE AND WIDENS AT ENDS. ENDS HAVE BORDER AND BROWN NYLON TASSELS. MIDDLE HAS WHITE COTTON LACE COLLAR SEWN TO SIDE. MIDDLE ALSO HAS CROSS MADE OF BORDER MATERIAL. NEAR EACH END OF STOLE IS GOLD COLORED EMBROIDERED FRENCH CROSS.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
HEALTH SERVICES
History
CHASUBLE WAS REMOVED FROM THE CHAPEL AT ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. FOR MORE HISTORY ON HOSPITAL SEE P19960116001-GA.
Catalogue Number
P19960116151
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
NYLON, POLYESTER, COTTON
Catalogue Number
P19960116152
  2 images  
Material Type
Artifact
Date Range From
1970
Date Range To
1980
Materials
NYLON, POLYESTER, COTTON
No. Pieces
2
Length
126
Width
110
Description
1. CHASUBLE: 126 X 110CM PINK NYLON-POLYESTER GARMENT IS PONCHO STYLE CLOAK WITH SLIGHTLY TAPERED SHOULDERS. COLLAR IS ROUND WITH FLY OPENING AT BACK AND SNAP CLOSURE. CHASUBLE HAS GREEN LINING AND GREEN FELT STRIP DOWN CENTER OF BOTH SIDES. FRONT HAS LARGE GOLD LETTERS WITH GREEN EDGING THAT READ "IHS" WITH A SIMILAR STYLE CROWN ABOVE. SEWN INTO FRONT OF LINING ARE TWO LABELS. ONE READS "BY GASPARD GREATER LITURGICAL ART WINNIPEG CANADA". SECOND LABEL HAS "ORNEMENTS D'EGLISE GLOIRE CONFECTIONNES AU CANADA". BACK OF CHASUBLE HAS TWO SMALL WINE STAINS. 2. STOLE: 225 X 10CM STOLE MADE OF SAME MATERIAL AS CHASUBLE WITH IDENTICAL GREEN LINING. STOLE HAS GREEN FELT CHEVRON ON BOTH ENDS AND ENDS ARE TAPERED TO BROAD POINT. STOLE HAS CURVE CUT AT NECK WITH COTTON COLLAR WITH LACE. ALSO AT NECK IS GREEN FELT CROSS. STOLE HAS SMALL WINE STAIN.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
HEALTH SERVICES
History
CHASUBLE WAS REMOVED FROM THE CHAPEL AT ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. FOR MORE HISTORY ON HOSPITAL SEE P19960116001-GA.
Catalogue Number
P19960116152
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
NYLON, COTTON
Catalogue Number
P19960116153
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
1970
Materials
NYLON, COTTON
No. Pieces
2
Length
127.5
Width
115.5
Description
1. CHASUBLE: 127.5 X 115.5CM RED NYLON CHASUBLE IS OVAL SHAPED WITH HOLE IN MIDDLE AND IS WORN PONCHO STYLE. HAS ROUND COLLAR WITH FLY OPENING AT BACK AND SNAP CLOSURE. COLLAR HAS EMBROIDERED BORDER THAT IS GREEN WITH YELLOW DOWN CENTER WITH CROSS AND DIAMOND PATTERN. ON FRONT AND BACK IS SEWN EMBROIDERY CROSS WITH LIFTED ARMS TO FORM "Y" CROSS. EMBRODERED BAND HAS GOLD CELTIC CROSSES WITH RED BACKGROUND AND CHAIN LINK DECORATION BETWEEN CROSSES. CENTER CREST IS GOLD CIRCLE WITH GREEN EDGE THAT HAS WHITE DESCENDING DOVE IN RED CROSS. 2. STOLE - 113 X 10.8CM STOLE IS SAME MATERIAL AS CHASUBLE WITH CURVED NECK AND GOLD TASSELS ON ENDS THAT ARE FADED. STOLE HAS WHITE COTTON COLLAR WITH LACE. AT COLLAR AND ON EACH END OF STOLE IS SEWN CROSS MADE OF STRIPS OF EMBROIDERED MATERIAL. EACH STRIP IS RED BACKGROUND WITH GOLD EDGING AND DIAMOND & FLOWER PATTERN.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
HEALTH SERVICES
History
CHASUBLE WAS REMOVED FROM THE CHAPEL AT ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. FOR MORE HISTORY ON HOSPITAL SEE P19960116001-GA.
Catalogue Number
P19960116153
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Other Name
TRADITIONAL SLOVAKIAN COSTUME
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
COTTON, LACE, RAYON
Catalogue Number
P20060037000
  2 images  
Material Type
Artifact
Other Name
TRADITIONAL SLOVAKIAN COSTUME
Date Range From
1930
Date Range To
1950
Materials
COTTON, LACE, RAYON
No. Pieces
7
Description
SLOVAKIAN COSTUME INCLUDES 7 PIECES: SKIRT, COLLAR, APRON, VEST, BONNET, SASH AND BLOUSE. 1. WHT LACE COLLAR WITH A BAND OF SEQUINS WRAPPED IN THICK SILVER THREAD. SAFETY PIN CLOSURE. 37(L) X 37 (W). 2. BL RAYON VEST DISPLAYS ASYMMETRICAL DESIGN. RIBBON DESIGN MADE FROM WEAVE METAL BRAID. SILVER STAR/FLORAL EMBOSSED BUTTONS, LINING THE FRONT OPENING. EMBROIDERED FLORAL DESIGN DECORATES FRONT VEST. OFF WHT LINING STAMPED “MARTIN OTEPKA HLUBOKA” ON LOWER FRONT/LEFT CORNER. 51(L) X 39(W). 3. OFF WHT CHIFFON BLOUSE. SHORT WAISTED PLEADED BODY AND LARGE LACE CUFFS. SAFETY PIN CLOSURE. 38 (L) X 66 (W). 4. LACE WHT BONNET. EMBROIDERED BAND NEAR TOP BACK FEATURES EMBROIDERED GEOMETRIC DESIGN. WHT EMBROIDERED SASH RIBBON ATTACHED TO BACK. 24 (L) X 18 (W). 5. OFF WHT SASH RIBBON WITH EMBROIDERED FLORAL MOTIF. ENDS ARE FRAYING. 63.5 (L) X 4 (W). 6. ROYAL BL APRON. ATTACHED WHT BELT EDGED WITH YLLW AND EMBROIDERED WITH FOAL MOTIF IN PNK, YLLW AND WHT. BASE OF APRON FRAYED AND FEATURES EMBROIDERED FLORAL MOTIF BORDER. 61.5 (L) X 74 (W). 7. PRPL AND WHT PERMA-PLEATED SKIRT WITH WHT COTTON EDGING. SQUARE PATCH ON BACKSIDE IS A DIFFERENT PRPL AND WHT PATTERN. STRING AT TOP OF WAIST ACTS AS CLOSURE. 87.5(L) X 74(W).
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
THE TRADITIONAL SLOVAKIAN COSTUME BELONGED TO MRS. KATHERINA (KATIE) BRECKA (NEE KADLICEK) (1908-1997), AN IMMIGRANT TO THE PICTURE BUTTE AREA. BORN IN ROVENSKO, CZECHOSLOVAKIA, MRS. BRECKA IMMIGRATED TO CANADA WITH HER HUSBAND AND TWO YOUNG SONS IN 1938. LIMITED BY THE NUMBER OF PERSONAL BELONGINGS SHE COULD BRING TO CANADA, BRECKA BROUGHT THIS DRESS BECAUSE IT REPRESENTED HER BEST SET OF CLOTHING AND WAS AN IMPORTANT REMINDER OF HER HOME. SHE SET THE CLOTHING ASIDE FOR SPECIAL OCCASIONS SUCH AS WEDDINGS, FESTIVALS, DANCES AND FOR CHURCH. UNAWARE THAT THIS WAS NOT COMMON FASHION IN CANADA SHE IS QUOTED SAYING “I NEVER THINKING DRESSES DIFFERENT HERE IN THIS COUNTRY, NOW I GO TO EATON’S”. DRESS WAS ALSO WORN BY VIOLIN PLAYER, CAROLYN KLAUSE, DURING A RECITAL IN WETASKIWIN, AB. THE DONOR REQUESTED THE COSTUME FROM MRS. BRECKA ON BEHALF OF THE VIOLINIST. KLAUSE PLAYED A CZARDAS, A NATIVE DANCE FROM MRS. BRECKA'S HOME LAND. AFTER THE LONG JOURNEY FROM SLOVAKIA TO CANADA, THE BRECKA FAMILY HAD A SHORT ONE MONTH STAY IN IRON SPRINGS WHERE THEY WORKED IN SUGAR BEET FIELDS. AFTER THAT, THEY MOVED TO THE FARM THAT THEY PURCHASED FROM JOHN SCHUMAKR IN PICTURE BUTTE. KATIE BRECKA SURVIVED HER HUSBAND JOHN BRECKA (WHO DIED IN 1960), LIVING IN PICTURE BUTTE UNTIL HER DEATH (JUNE 6, 1997) AT THE AGE OF 88. *UPDATE* IN 2017 COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILE ARTIFACTS, INCLUDING THIS TRADITIONAL SLOVAKIAN COSTUME. THE PERMANENT FILE INDICATES THAT KATIE WAS BORN ON NOVEMBER 23, 1908. HER AND JOHN BRECKA'S SONS WERE NAMED VLADIMIR AND DRAHOTIN (STAN). IN 1942, AFTER THE FAMILY WAS SETTLED IN CANADA, THEY HAD A DAUGHTER NAMED YARMILA (GERALDINE). THE DONOR, CATHRYN BRECKA IS THE WIFE OF VLADIMIR. THE DATE OF THE VIOLIN RECITAL IN WETASKIWIN WAS MARCH 1978. THERE IS A NOTE IN THE PERMANENT FILE THAT STATES THAT THE COSTUME IS PRESUMED TO BE MADE BY FAMILY. FOR MORE INFORMATION PLEASE SEE PERMANENT FILE.
Catalogue Number
P20060037000
Acquisition Date
2006-10
Collection
Museum
Images
Less detail
Other Name
DUTCH CANADIAN CLUB FOLK COSTUME
Date Range From
1988
Date Range To
2004
Material Type
Artifact
Materials
LINEN, VELVET, PLASTIC
Catalogue Number
P20150005000
  2 images  
Material Type
Artifact
Other Name
DUTCH CANADIAN CLUB FOLK COSTUME
Date Range From
1988
Date Range To
2004
Materials
LINEN, VELVET, PLASTIC
No. Pieces
4
Length
75
Width
46
Description
.A – LONG-SLEEVED SHIRT MADE OF BLUE AND WHITE STRIPED LINEN, WITH RED COLLAR. COLLAR HAS CUFFLINK-STYLE CLOSURE WITH METAL BUTTONS THAT DEPICT A CREST AND TEXT READING “… TONANTI…”. SIX CLEAR PLASTIC BUTTONS DOWN FRONT AND ONE AT EACH CUFF. CHEST POCKET ON LEFT SIDE. OVERALL VERY GOOD CONDITION. 75 X 46 .B – RED LINEN LONG-SLEEVED JACKET. OPEN FRONT, WITH TWO RED BUTTON CLOSURES AT WAIST LINE HEM. OVERALL VERY GOOD CONDITION. 71 X 46 .C – BLACK LINEN PANTS WITH PLEATED WAIST AND WIDE LEGS. FRONT WAIST CLOSURE HAS TWO METAL BUTTONS WITH IMAGE OF BIRD AND TEXT READING “SPES NOSTRA ES DEVS”. BACK WAIST CLOSURE HAS TWO HOLES ON EITHER SIDE OF WAISTBAND. OVERALL VERY GOOD CONDITION. 101.5 X 49 .D – BLACK VELVET CAP, MADE FROM A STRIP OF FABRIC THAT TIES AT BACK WITH SIX GREEN RIBBONS THAT ARE SEWN INTO SEAM. INNER CAP IS BLACK VELVET AND LINEN SEWN TO BOTTOM SEAM OF OUTER EDGE. LENGTH OF GREEN YARN ATTACHED TO RIBBON WITH METAL SAFETY PIN. BOTTOM RIBBON IS FRAYED. OVERALL VERY GOOD CONDITION. 13.5 X 21
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
ETHNOGRAPHIC
History
THIS COSTUME WAS WORN BY WIM VONKEMAN DURING HIS PARTICIPATION IN THE EVENTS AND ACTIVITIES OF THE DUTCH CANADIAN CLUB OF LETHBRIDGE. BORN IN THE NETHERLANDS IN 1929, VONKEMAN IMMIGRATED TO CANADA IN 1981 WITH HIS WIFE TRUDY AND THEIR THREE CHILDREN, ANINE, ALWIN, AND HERWIN, SETTLING IN THE PICTURE BUTTE AREA. VONKEMAN WAS INSTRUMENTAL IN THE ESTABLISHMENT OF THE DUTCH CANADIAN CLUB, AND WAS ACTIVE WITH THE GROUP UNTIL HIS DEATH IN 2004. ON JANUARY 21, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, TRUDY VONKEMAN, ABOUT THIS COSTUME AND HER HUSBAND WIM’S INVOLVEMENT WITH THE DUTCH CANADIAN CLUB OF LETHBRIDGE. SHE SAID: “MY HUSBAND’S FAMILY WENT [TO CANADA] IN 1952 – HE WAS THE ELDEST SON AND HAD A NICE JOB IN HOLLAND SO HE STAYED BEHIND. THEN WE MET AND MARRIED AND HAD KIDS, AND IN 1979 WE WENT ON HOLIDAYS [IN CANADA] WITH THE KIDS FOR FOUR WEEKS… THEY ENJOYED IT VERY MUCH AND WHEN WE WERE BACK IN HOLLAND I HEARD MY TWO SONS [SAYING] ‘AFTER SCHOOL WE GO TO CANADA’… I SAID TO MY HUSBAND, ‘LET’S GO THEN AS A FAMILY, I DON’T WENT TO SPLIT THE FAMILY LATER’… THERE WAS A BIG FAMILY WAITING [IN CANADA] AND MY PARENTS DIED [IN 1979 AND 1980] SO THERE WAS NO REASON NOT TO DO IT [WHILE] WE WERE STILL YOUNG ENOUGH. I WAS 47 AND MY HUSBAND WAS 51, BUT STILL WE MADE IT. THE WHOLE FAMILY LOOKED AFTER US [AND] THERE WAS A JOB ON THE FARM [OUTSIDE PICTURE BUTTE]... WE DIDN’T NEED TO IMMIGRATE BECAUSE IT WAS EVEN BETTER IN HOLLAND THAN WHEN WE CAME HERE. STILL, ONE OF THE LAST THINGS MY HUSBAND SAID TO ME [WAS] ‘WE HAD LESS MONEY HERE IN CANADA BUT I’M GLAD WE WENT.’” VONKEMAN CONTINUED: “IN HOLLAND, THE CHURCH WHERE I BELONGED TO, THE WOMEN WERE PASTORS. HERE, NOT. AND I STOPPED GOING WHEN… THERE WAS SOMETHING THE MEN HAD TO DECIDE AND THE WOMEN COULD [ONLY] GO TO THE KITCHEN AND MAKE COFFEE. I WAS SO MAD [I DECIDED] I’M NOT GOING ANYMORE… [BUT WIM], HIS BACKGROUND, WE DUTCH PEOPLE DO SOMETHING TOGETHER… HE WANTED TO BE ACTIVE TO SHOW SOMETHING ABOUT WHERE HE COMES FROM… HE MET SOME OTHER DUTCH PEOPLE [AND] SET UP THE DUTCH CANADIAN CLUB… HE STARTED WITH DICK VAN GROOTHEEST AND HERMAN SIEMENS AND HE TOOK THE INITIATIVE… HE WANTED TO ORGANIZE AND DO STUFF. HE WAS NOT ONE TO SIT AROUND AND READ A BOOK… HE WAS ALWAYS BUSY AND TRYING TO FIND NEW THINGS [FOR THE CLUB] TO DO… I WAS IN THE BACKGROUND, HELPING WITH THE ORGANIZING AND HELPING HIM THINK ABOUT THINGS… WIM STARTED [THE CLUB’S] MAGAZINE, ‘VAN DE HAK OP DE TAK’ [ROUGHLY TRANSLATES TO ‘DOWN THE GRAPE VINE’]… THE CLUB HAD A FOLK DANCE GROUP AND THEY HAD THIS SUIT FOR IT. [THE DESIGN] IS FROM A CERTAIN PART OF HOLLAND [CALLED] VOLENDAM… A LITTLE FISHER TOWN WHERE ALL THE MEN WORE THIS IN THE PAST… [THE CLUB’S DANCE GROUP] WENT AROUND AND DANCED IN OLD FOLKS HOMES… AND THEY HAD A CHOIR TOO, ALL DRESSED UP IN VOLENDAM COSTUMES, SINGING ON DIFFERENT EVENINGS… YOU HAVE EVENINGS WHERE YOU DANCE AND YOU HAVE A MEAL, AND DRINK A GLASS OF WINE, AND HAVE FUN.” ON JUNE 24, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WIM VONKEMAN’S DAUGHTER, ANINE. SHE SAID: “AFTER MY DAD PASSED AWAY, WE HAD [THE COSTUME] DRY-CLEANED… AND I COULDN’T GET RID OF IT. IT HAD TO GO BACK TO THE DUTCH CANADIAN CLUB, TO THE DANCERS, SO THAT SOMEONE ELSE COULD WEAR IT. MY DAD WAS PRETTY SHORT, AND IT WAS A SPECIFIC SIZE FOR HIM [AND] IT WAS PART OF HIM, SO I JUST COULDN’T GET RID OF IT… WHEN I KEPT IT, I KNEW THAT I WAS NOT GOING TO KEEP IT MYSELF FOREVER, AND THAT IT SHOULD GO INTO THE MUSEUM… BECAUSE MY DAD HELPED ESTABLISH THE DUTCH CANADIAN CLUB… IT SUCH A BIG PART OF THE WHOLE LETHBRIDGE STORY… HE SET UP THE ASSOCIATION IN CONJUNCTION WITH OTHER PEOPLE, IN AN EFFORT TO MAINTAIN A CONNECTION BETWEEN DUTCH CANADIANS, AND KEEP SOME TRADITIONS GOING, OR BRING SOME NEW TALENTS. AND HE DID A LOT OF STUFF CROSS-CULTURALLY WITH CANADIANS AND DUTCH PEOPLE, BRINGING CHOIRS AND DANCERS OVER FROM HOLLAND, DOING STUFF IN THE STATES WITH OTHER DUTCH ASSOCIATIONS, AND JUST TRYING TO CONNECT PEOPLE… THERE ARE MANY RURAL DUTCH-CANADIANS – FARMERS, FARMERS’ FAMILIES – BUT THERE’S ALSO LOTS OF PEOPLE IN LETHBRIDGE AND SMALLER COMMUNITIES. BUT THEY ASSOCIATE THROUGH CHURCHES, I THINK… AND MY MOM AND DAD LEFT THE CHURCH [SO] THAT COMMUNITY, FOR THEM, WAS NOT THERE. MY DAD LIKED SINGING IN THE CHOIR IN THE CHURCH, SO PERHAPS HE WAS FILLING A BUNCH OF HIS OWN NEEDS BY SETTING [THE DUTCH CANADIAN CLUB] UP, AND ALSO FOR OTHERS IN THE COMMUNITY.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND INFORMATION ON THE DUTCH CANADIAN CLUB OF LETHBRIDGE. FOR PHOTOGRAPHS SHOWING WIM VONKEMAN WEARING THE COSTUME, SEE GALT ARCHIVES 20150075. FOR MORE INFORMATION ON THE VONKEMAN FAMILY, SEE P20150022000.
Catalogue Number
P20150005000
Acquisition Date
2015-01
Collection
Museum
Images
Less detail
Other Name
C/W SCARF & SLIP
Date Range From
1975
Date Range To
1976
Material Type
Artifact
Materials
COTTON, POLYESTER (SYNTHETIC)
Catalogue Number
P20000011019
  2 images  
Material Type
Artifact
Other Name
C/W SCARF & SLIP
Date Range From
1975
Date Range To
1976
Materials
COTTON, POLYESTER (SYNTHETIC)
No. Pieces
3
Length
146.0
Description
1. DRESS. ABOVE DIMENSIONS. MADE OF BLUE AND WHITE CHECKERED COTTON. HAS WHITE FLORAL EDGING AROUND SCOOPED NECKLINE, EMPIRE WAIST AND TOWARDS BOTTOM OF SKIRT. THERE ARE 2 PLEATS IN BODICE. SLEEVES ARE SHORT AND SLIGHTLY GATHERED AT ARMHOLE. THERE IS A ZIPPER PART WAY DOWN BACK OF DRESS. DRESS IS SLIGHTLY GATHERED AT WAISTLINE (BELOW EDGING). BELOW EDGING ON SKIRT MATERIAL IS GATHERED TO CREATE A FLOUNCE. THERE ARE YELLOW STAINS IN ARMPIT AREA. 2. SLIP. 100.5 (L) X 56.3 (W). LIGHT BLUE SYNTHETIC FABRIC. HAS GATHERED, ELASTICIZED WAISTBAND AND WIDE HEM ALONG BOTTOM. MADE FROM ONE PIECE OF FABRIC. ABOUT HALF OF SIDE SEAM HAS COME UNDONE FROM HEM UP. 3. SCARF. 90.7(L) X 32.6(W). MADE OF SAME BLUE AND WHITE CHECKERED COTTON AS DRESS. TRIANGLE SHAPE WITH ALL SIDES HEMMED. ALL THREE CORNERS HAVE WHITE FLOWERS (SAME EDGING AS USED ON DRESS) - ONE CORNER HAS 3 FLOWERS, OTHER TWO HAVE 1.
Subjects
CLOTHING-OUTERWEAR
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
MADE BY DONOR WHILE WORKING AT THE GALT MUSEUM & ARCHIVES. HERSELF AND SUMMER STAFF (STEP STUDENTS) MADE SETS FOR THEMSELVES OUT OF GINGHAM TO ADD A BIT OF CHARACTER FOR THE TOURISTS THAT CAME INTO THE MUSEUM. DONOR WAS BORN IN INDIAN HEAD SASKATCHEWAN; HER FAMILY MOVED TO LETHBRIDGE IN 1955, WHERE SHE HAS REMAINED EVER SINCE. HER FATHER WAS A REPRESENTATIVE FOR FROSST PHARMACEUTICAL COMPANY IN LETHBRIDGE. DONOR IS PAST EMPLOYEE OF GALT MUSEUM. DONOR'S HUSBAND ANDREW IMMIGRATED TO LETHBRIDGE IN 1980; IS PAST CHAIRMAN OF THE GALT MUSEUM & ARCHIVES BOARD OF DIRECTORS.
Catalogue Number
P20000011019
Acquisition Date
2004-06
Collection
Museum
Images
Less detail
Other Name
COAT AND BOOTIES
Date Range From
1940
Date Range To
1945
Material Type
Artifact
Materials
WOOL
Catalogue Number
P20010070022
  2 images  
Material Type
Artifact
Other Name
COAT AND BOOTIES
Date Range From
1940
Date Range To
1945
Materials
WOOL
No. Pieces
3
Length
22.7
Width
43.0
Description
1. CLOAK. ABOVE DIMENSIONS. CROCHETED BABY'S SWEATER. OFF WHITE WITH LIGHT BLUE TRIM. BOTTOM EDGE OF COAT HAS A JAGGED EDGE. SLEEVES ARE SORT OF PUFFY AT CUFFS. 2. BOOTIES. 8.5 X 5.3. CROCHETED BABY BOOTIES. OFF WHITE WITH LIGHT BLUE TRIM. TOP OF BOOTIES ARE FOLDED OVER. ONE BOOTEE HAS A BLUE PIECE OF YARN AROUND LEG WITH POM POMS ATTACHED TO THE ENDS. OTHER BOOTEE ALSO A PIECE OF YARN AROUND LEG, BUT POM POMS ARE MISSING. THIS BOOTEE HAS A SMALL ORANGEY STAIN ON ONE SIDE.
Subjects
CLOTHING-OUTERWEAR
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
History
MADE BY DONOR'S MOTHER DAGMAR DOYLE SIMPSON. THE GARMENTS WERE NEVER USED. DONOR SUSPECTS HER MOTHER MADE THE ITEMS IN HOPES OF ONE DAY HAVING A BABY BOY, BUT WAS UNABLE TO DO SO. DAGMAR OLSEN WAS BORN DECEMBER 28, 1914, RAISED ON A FAMILY FARM, AND SCHOOLED IN STAVLEY, ALBERTA. HER PARENTS, HILDA AND JOHN OLSEN, WERE IMMIGRANT PIONEERS FROM NORWAY. HER MOTHER HILDA, GOT DAGMAR HER FIRST JOB AS A TELEPHONE OPERATOR WITH THE STAVELY AGENCY AT THE AGE OF 15 YEARS. AFTER LIVING AT HOME WORKING SEVEN YEARS IN STAVELY, DAGMAR MOVED TO LETHBRIDGE AND WORKED FOR AGT UNTIL SHE MARRIED LAWRENCE DOYLE, ALSO FROM STAVELY AND PRINCE EDWARD ISLAND. DAGMAR AND LAWRENCE HAD ONE DAUGHTER, BARBARA. DAGMAR LATER RETURNED TO AGT AS AN OPERATOR UNTIL HER RETIREMENT AT AGE 60, WHEN SHE MARRIED CLARE SIMPSON. CLARE AND DAGMAR LIVED IN LETHBRIDGE, SOCIALIZED, AND TRAVELED EXTENSIVELY UNTIL HIS DEATH IN 1985. DAGMAR OLSEN DOYLE SIMPSON DIED MARCH 14, 2001. SHE WAS RUMORED TO BE ONE OF THE MOST BEAUTIFUL WOMEN IN LETHBRIDGE. DONOR, BARBARA DOYLE, WAS BORN AND SCHOOLED IN LETHBRIDGE. SHE TRAINED AT ST. MICHAEL'S HOSPITAL AS A LABORATORY TECHNOLOGIST; GRADUATED 1962. SHE WORKED IN THE LAB AT ST. MICHAEL'S FOR 5 YEARS; MARRIED AND HAD 2 SONS. GRADUATED FROM THE UNIVERSITY OF CALGARY WITH A BACHELOR OF ARTS, THEN A MASTERS OF ARTS IN ENGLISH, IN 1987. SHE TAUGHT AT UNIVERSITYS OF CALGARY AND LETHBRIDGE, THEN MOVED TO MONTREAL FROM 1990-1996. SHE RETURNED TO LETHBRIDGE TO RETIRE. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING CLOTHING ITEMS DONATED BY BARBARA DOYLE. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. DAGMAR CHRISTINA SIMPSON (NEE OLSEN) PASSED AWAY ON MARCH 14, 2001 AT THE AGE OF 88. SHE MARRIED LAWRENCE PATRICK (LARRY) DOYLE ON DECEMBER 4, 1940. LAWRENCE WAS BORN IN PEI IN 1910. HE MOVED TO VULCAN IN 1920, STAVELY IN 1924, AND TO LETHBRIDGE IN 1937. HE PASSED AWAY AT THE AGE OF 58 ON MARCH 28, 1969. LAWRENCE WAS THE SON OF GEORGE FRANKLIN AND MINNIE MAGDALEN DOYLE. DAGMAR WAS REMARRIED ON MARCH 29, 1975 TO CLARE C. SIMPSON. CLARE WAS BORN AND RAISED IN BELLEVILE, ON AND MOVED TO LETHBRIDGE IN 1930 TO WORK FOR AGT. HE ENLISTED IN 1939 AND WAS A POW FOR 3.5 YEARS FOLLOWING DIEPPE. HE PASSED AWAY AT THE AGE OF 75 ON FEBRUARY 18, 1983. THE DONOR, BARBARA DOYLE, IS THE DAUGHTER OF DAGMAR AND LAWRENCE. IN 1969, BARBARA WAS MARRIED TO PAUL TURNER AND IN 1983, SHE WAS THE WIFE OF MR. B.F. MCFADDEN. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD. *UPDATE* IN 2018 COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF THE COLLECTION, INCLUDING A NUMBER OF ARTIFACTS DONATED BY BARBARA DOYLE. ON SEPTEMBER 7, 2018, PUNDYK SAT DOWN WITH DOYLE FOR AN INTERVIEW REGARDING THAT DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: DOYLE EXPLAINED THAT HER MOTHER DAGMAR OLSEN – THE ORIGINAL OWNER OF THE ARTIFACTS – WAS BORN IN STAVLEY AND WAS THE THIRD OF FOUR SISTERS. GROWING UP IN A HOUSE OF DAUGHTERS PLAYED A SIGNIFICANT ROLE IN OLSEN’S LIFE. DOYLE DESCRIBED THE SISTERS BY SAYING, “BESSIE WAS THE OLDEST, AND NORAH WAS THE SECOND OLDEST, AND THEN MY MOTHER, AND THEN VICKI. AUNT VICKI WENT BIG [BY MOVING] TO TORONTO. SHE WANTED TO GET OUT OF TOWN. SHE WAS BORED. SHE WAS BORN IN STAVELY AND THERE WAS NO WAY SHE WAS GOING TO STAY THERE. SHE WAS THE YOUNGEST, SO SHE GOT THINGS THAT THE OTHERS DIDN’T GET IN THEIR LIFE. NORAH TOOK TO CALGARY. SHE WENT UP THERE AND SHE WORKED FOR A WHILE AT PACKING COOKIES OR SOMETHING LIKE THAT. BESSIE WAS [WORKING] WITH MRS. JOURNEK AND THEN IN CALGARY THAT WAY TOO.” MOVING ON TO DESCRIBE HER MOTHER, DOYLE ILLUMINATED, “SHE WORKED [AS A TELEPHONE OPERATOR] FROM WHEN SHE WAS 15 IN STAVELY FOR ABOUT 7 YEARS. SHE WAS THERE FOR THE FIRST TELEPHONES COMING IN. THEN SHE MOVED TO LETHBRIDGE. SHE KNEW MY DAD FROM STAVELY, AND THEN HE MOVED TO LETHBRIDGE AS WELL AND THEY LIVED SEPARATELY IN A BOARDING HOUSE UNTIL THEY GOT MARRIED…SHE HAD BREAKS [IN BETWEEN WHEN SHE FIRST STARTED WORKING AND HER RETIREMENT] WHEN SHE COULDN’T WORK BECAUSE OF THE WAR. [ADDITIONALLY,] I WAS BORN IN ’42, AND ONCE YOU HAD A CHILD, YOU COULDN’T GO TO WORK. EVEN WHEN THE WAR WAS OVER, THE WOMEN COULD NOT GO TO WORK BECAUSE THEY WERE MAKING WAY FOR THE PEOPLE COMING BACK FROM THE WAR FOR THE JOBS. THAT WAS REALLY HARD ON MY MOTHER. SHE WAS SO INDEPENDENT AND TO NOT BE ABLE TO HAVE HER OWN MONEY AND EVERYTHING [WAS DIFFICULT].” “[MY MOTHER] KNITTED [THIS BABY SWEATER] BEFORE [LEAVING WORK TO HAVE CHILDREN]. I DON’T KNOW AT THAT TIME IF IT WAS BLUE FOR BOYS STRICTLY, AND GIRLS FOR PINK. AND I DON’T KNOW WHETHER I EVER WORE IT. [THIS IS FROM] MY MOTHER’S HANDIWORK AND SHE WASN’T ONE THAT CROCHETED VERY MUCH. WHEN SHE WAS WORKING [SHE WOULDN’T HAD A LOT OF EXTRA TIME]. AND I GUESS AT THAT TIME AFTER SHE HAD ME, SHE WASN’T WORKING, BUT OUR OLD WASHERS THAT HAD THE RINGERS AND STUFF LIKE THAT [WERE TIME-CONSUMING]. SHE HAD TO WORK HARDER AROUND THE HOUSE AND EVERYTHING TOO,” DOYLE EXPLAINED. “I WAS BORN IN LETHBRIDGE,” DOYLE CONTINUED, “[I LEFT MY PARENTS’ HOUSE] WHEN I WAS 18 BECAUSE I WAS IN RESIDENCE WHEN I WAS DOING MY LABORATORY STUFF. I WAS A LAB TECHNICIAN FIRST. AFTER I GOT MARRIED IN ’64, WE LIVED FIVE YEARS HERE BEFORE WE STARTED MOVING AROUND. IT WAS ’71 [WHEN] WE LEFT AND WENT TO SASKATCHEWAN, REGINA.” “[I RECEIVED THESE ITEMS FROM MY MOTHER] AFTER SHE PASSED AWAY. [THEY WERE] IN THE HOUSE,” DOYLE STATED, "ALL OF THIS STUFF WAS IN THE HOUSE ON THE SOUTH SIDE. I FEEL LIKE MY MOTHER IS STILL IN THE HOUSE. I HAD REALLY GOOD PARENTS. WE WEREN’T POOR, BUT WE WEREN’T RICH EITHER, YOU KNOW. WE WERE JUST COMFORTABLE, BUT THEY WORKED VERY HARD FOR IT. THEY BOTH WORKED VERY HARD.” PLEASE SEE PERMANENT FILE P20010070001 FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPT.
Catalogue Number
P20010070022
Acquisition Date
2001-12
Collection
Museum
Images
Less detail
Other Name
BLOUSE & VEST SET
Date Range From
1940
Date Range To
1945
Material Type
Artifact
Materials
COTTON, EMBROIDERY FLOSS
Catalogue Number
P19860027000
  1 image  
Material Type
Artifact
Other Name
BLOUSE & VEST SET
Date Range From
1940
Date Range To
1945
Materials
COTTON, EMBROIDERY FLOSS
No. Pieces
2
Description
.1 BLOUSE. COTTON, EMBROIDERY FLOSS. NATURAL, RED. SIZE: LADIES MEDIUM. BLOUSE IS MACHINE STITCHED NATURAL UNBLEACHED COTTON WITH RED EMBROIDERED DESIGN ON LOWER PORTION OF SLEEVES, CUFFS, COLLAR, FRONT PLACKET AND SHOULDERS. FULL PUFFED SLEEVE. 3 SNAP FASTENERS ON BLOUSE FRONT, 2 ON EACH CUFF. .2 VEST. WOVEN COTTON. SIZE: MEDIUM. VEST IS MACHINE AND HAND SEWN WOVEN COTTON. PLEATED FROM WAIST DOWN. 5 HOOK AND EYE FRONT CLOSURE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
Catalogue Number
P19860027000
Acquisition Date
1985-07
Collection
Museum
Images
Less detail
Other Name
BLOUSE & VEST SET
Date Range From
1940
Date Range To
1945
Material Type
Artifact
Materials
COTTON, EMBROIDERY FLOSS
Catalogue Number
P19860028000
  1 image  
Material Type
Artifact
Other Name
BLOUSE & VEST SET
Date Range From
1940
Date Range To
1945
Materials
COTTON, EMBROIDERY FLOSS
No. Pieces
2
Description
.1 BLOUSE. COTTON, EMBROIDERY FLOSS. NATURAL, TAN. SIZE: LADIES SMALL. BLOUSE IS MACHINE STITCHED NATURAL UNBLEACHED COTTON WITH TAN EMBROIDERED DESIGN ON LOWER PORTION OF SLEEVES, CUFFS, COLLAR AND FRONT PLACKET FULL PUFFED SLEEVE. 1 SNAP FASTENER ON EACH CUFF. 2 SNAP FASTENERS ON FRONT PLACKET. SNAPS ON CUFFS HAVE RUSTED SLIGHTLY. .2 VEST. WOVEN COTTON. GOLD, BROWN, TAN, BLUE, BLACK. SIZE SMALL. VEST IS BOTH MACHINE AND HAND STITCHED WOVEN COTTON. PLEATED FROM WAIST DOWN. 5 HOOK & EYES FRONT CLOSURES. ARMHOLES AND NECKLINE FINISHED WITH BIASED TAPE
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
Catalogue Number
P19860028000
Acquisition Date
1985-07
Collection
Museum
Images
Less detail
Other Name
P19860029001-002-GA, P19860022000-0028000-GA, SKIRT AND APRON (SET) P19860034000-0036000-GA
Date Range From
1830
Date Range To
1860
Material Type
Artifact
Materials
COTTON, LINEN
Catalogue Number
P19860029000
  2 images  
Material Type
Artifact
Other Name
P19860029001-002-GA, P19860022000-0028000-GA, SKIRT AND APRON (SET) P19860034000-0036000-GA
Date Range From
1830
Date Range To
1860
Materials
COTTON, LINEN
No. Pieces
2
Description
.1 SKIRT. 100.5(L) X 36(W - WAIST) COTTON, LINEN. CREAM, RUST, MAUVE, BLUE, GOLD, BLACK. SIZE: MEDIUM. HAND SPUN AND WOVEN PLEATED SKIRT, PLEATS SEWN DOWN TO HIP LINE. BLACK WAISTBAND, BUTTONS ON LEFT SIDE WITH 1 BUTTON. GEOMETRIC DESIGNS RUN HORIZONTALLY AROUND SKIRT. BASIC COLOUR IS CREAM. .2 APRON. 72(L - W/O TIES) X 62(W- BOTTOM HEM) COTTON, WOOL. BURGUNDY, GREY, BLUE, WHITE, GREEN, RED AND YELLOW. HAND WOVEN, BURGUNDY BACKGROUND, 5 BLUE AND WHITE VERTICAL STRIPES. 5 VERTICAL ROWS OF WOOL EMBROIDERED FLOWERS, RED/WHITE, RED/YELLOW, GREEN LEAVES AND STEMS. ATTACHED TO GREY WAISTBAND WHICH BUTTON ON LEFT SIDE WITH AN AQUA BUTTON.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
THE DONOR ESTIMATES THE COSTUME TO BE 150 YEARS OLD, IT WAS MADE BY HER ANCESTRAL MATERNAL GREAT-GRANDMOTHER (6 GENERATIONS BACK). THE COSTUME IS ENTIRELY HANDMADE AND EXEMPLIFIES FINE FOLK ART. THE ORNATELY DECORATED APRON IS CONSIDERED THE "HEART" OF LITHUANIA COSTUMES.
Catalogue Number
P19860029000
Acquisition Date
1985-07
Collection
Museum
Images
Less detail
Other Name
SKIRT & APRON SET
Material Type
Artifact
Materials
WOOL, LINEN
Catalogue Number
P19860034000
  2 images  
Material Type
Artifact
Other Name
SKIRT & APRON SET
Date
1945
Materials
WOOL, LINEN
No. Pieces
2
Description
.1 SKIRT. 90.5(L) X 49(W - WAIST). WOOL, LINEN. BLUE, BLACK, GREEN, RUST, PINK, ORANGE. SIZE: LADIES EXTRA LARGE. VARIETY OF COLOURED VERTICAL STRIPED PLEATS ATTACHED TO A DARK BLUE WAIST BINDING WHICH BUTTONS ON LEFT SIDE WITH AN ANTIQUE GOLD COLOURED BUTTON. INSIDE HEM IS BOUND WITH A BLUE AND WHITE CHECKED MATERIAL. .2 APRON. 74(L - W/O TIES) X 66 (W-WAIST). WOOL, LINEN. GREEN, RUST, PINK, ORANGE, RED, BLUE, WHITE, YELLOW. VARIETY OF COLOURED VERTICAL WOVEN STRIPES GATHERED AT TOP AND ATTACHED TO A MULTI-COLOURED BAND.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
THIS COSTUME WAS MADE BY DONOR'S GRANDMOTHER, PETRE JONAUSKIENE, IN 1945. FABRIC IS ENTIRELY HAND MADE. THE SHEEP WERE SHEARED, THE WOOL WAS THEN WASHED, CARDED AND DYED. ALL THE COLOURS WERE DERIVED FROM FLOWERS AND TREE BARK BECAUSE NO COMMERCIAL DYES WERE AVAILABLE. AFTER THE WOOL WAS DYED IT WAS SPUN, THEN WOVEN INTO FABRIC. THE GRANDMOTHER WON MANY PRIZES FOR HER FINE WEAVING AND CREATIVITY AS A FOLK ARTIST.
Catalogue Number
P19860034000
Acquisition Date
1985-07
Collection
Museum
Images
Less detail
Other Name
DRESS, WEDDING
Material Type
Artifact
Materials
COTTON, POLYESTER, METAL
Catalogue Number
P20180008002
  2 images  
Material Type
Artifact
Other Name
DRESS, WEDDING
Date
1965
Materials
COTTON, POLYESTER, METAL
No. Pieces
2
Length
134
Width
43
Description
A. WHITE WEDDING DRESS, 134 CM LONG X 43 CM WIDE. DRESS HAS CREAM LACE OVERLAID DOWN FRONT AND AROUND SHOULDERS; FRONT HAS WHITE BOW AT WAIST. SLEEVES ARE POINTED AT CUFFS WITH THREE WHITE CLOTH-COVERED BUTTONS ALONG CUFFS. BACK OF DRESS HAS WHITE METAL ZIPPER RUNNING FROM NECK TO WAIST, AND SILVER FASTENING HOOKS AND LOOPS AT COLLAR AND WAIST. BACK HAS FOUR WHITE SNAP-BUTTONS UNDER LACE AT SHOULDERS FOR FASTENING TRAIN; COLLAR HAS SILVER SNAP BUTTON FOR CLOSING LACE OVERLAY. BACK HEM HAS SLIT UP CENTER. DRESS HAS STAINING AND RIP ON FRONT LEFT SLEEVE; RIGHT SLEEVE HAS STAINING ON BACK; OVERALL EXCELLENT CONDITION. B. TRAIN FOR WEDDING DRESS, 210.4 CM WIDE X 174 CM LONG, DETACHABLE. TRAIN HAS FIVE METAL SNAP BUTTONS AT NECK PAINTED WHITE AT BASES; TRAIN HAS A TRIANGULAR SLIT CUT OUT OF BACK AT LOWER EDGE; CUT-OUT IS OVERLAID WITH CREAM LACE, WITH IVORY BOW AT THE PEAK OF THE CUT-OUT. MACHINE-STITCHED AT EDGES; CREASED; STAINED ALONG INSIDE LOWER EDGE; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
PERSONAL CARE
History
ON APRIL 24, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BARB CLARKE REGARDING HER DONATION OF A WEDDING GOWN AND GOING-AWAY ENSEMBLE. THE WEDDING GOWN AND GOING-AWAY ENSEMBLE WERE WORN BY CLARKE FOR HER WEDDING IN 1965. ON HER WEDDING AND HER SELECTION OF THE WEDDING GOWN, CLARKE RECALLED, “I WENT SHOPPING FOR A WEDDING DRESS, AND THIS WAS THE FIRST DRESS I TRIED ON. IT COST ME $75.00. I JUST BOUGHT IT, AND SAID, 'OK, IT FITS. I GUESS WE’LL PUT IT AWAY, AND HANG IT UP IN THE CLOSET, AND IT’LL BE READY WHEN WE GET [IT].' AFTER SUMMER SCHOOL–-I GUESS I HAD WORKED HARD–-BUT I HAD LOST SOME WEIGHT. WHEN I STOOD IN THE DRESS THE HEM HUNG ON THE FLOOR, SO FOR THE PICTURES I HAD TO STAND UP ON MY TIPTOES, SO THAT THE DRESS WAS NOT CRUMPLING IN FRONT OF ME.” “[I BOUGHT IT FROM] ONE OF THE DRESS SHOPS ON FOURTH AVE. THERE’S A NUMBER OF DRESS SHOPS ALONG THAT STREET. IT WAS NOT A BIG SHOP; IT WAS NOT A BIG ‘WEDDING DRESS’ SHOP LIKE THEY HAVE NOW. IT WAS JUST A SHOP THAT SEEMED LIKE THEY HAD SOME WEDDING DRESSES IN ONE SECTION.” “[IT] WAS NOT A BIG POUFY DRESS. I JUST WANTED SOMETHING VERY SIMPLE, BUT SOMETHING VERY STRAIGHT AND EASY TO WEAR. I ALWAYS LIKED THE ‘HEAVY LACE’ KINDS OF THINGS. WHEN I FOUND THIS, AND IT WAS 75 DOLLARS, [IT] SEEMED LIKE A LOT OF MONEY, BUT I WAS TEACHING. I HAD ALSO BORROWED SOME MONEY FROM MY DAD TO BUY A CAR, AND I WASN’T MAKING MUCH MONEY. WHEN I WAS STARTING TEACHING, MY COUSIN WHO WAS WORKING IN A BANK MADE MORE MONEY THAN I DID, BUT I HAD TO PAY OFF THE LOAN TO MY DAD FOR THE CAR. BUT I WAS ABLE TO SQUEEZE OUT ENOUGH MONEY TO BUY THIS DRESS.” “THIS WAS SOMEWHAT OF A DEPARTURE BECAUSE IT WAS JUST A STRAIGHT SHEATHE DRESS. MANY OF THEM WERE—I DON’T WANT TO SAY MORE STRAPLESS, BUT THEY HAD MORE ‘BEADING’, MORE ‘NETTING’, MORE POUFY WITH CRINOLINES, AND WIDER DRESSES. I JUST WAS TRYING TO GO AS SIMPLE AS I COULD. THIS ONE HAD THIS NICE LITTLE TRAIN ON IT, SO THAT MADE IT A LITTLE BIT MORE DRESSY AND ELEGANT. IT WAS NOT OVER-THE-TOP WITH POUFINESS. I WAS BRIDESMAID A FEW TIMES-–SO I THOUGHT I WAS NEVER GOING TO BE A BRIDE. MOST OF THE OTHER GIRLS HAD WIDER DRESSES. THIS ONE HAS THE LONG SLEEVES WITH THE LITTLE POINTY THING ON YOUR WRIST AND HAND, AND NOT MANY OF THEM WERE LIKE THAT. MOST OF THEM WERE SHORTER SLEEVES. I’M NOT SURE THAT THIS ONE WOULD BE TOTALLY REPRESENTATIONAL [OF THE FASHION OF THE TIME], BUT IT ALWAYS ACQUIRED MANY COMPLIMENTS AS BEING A VERY NICE DRESS.” ON HER WEDDING, CLARKE ELABORATED, “[I MARRIED] DAVE CLARKE. HE GREW UP AT CASTOR, ALBERTA, WHICH IS 200 MILES NORTH OF TABER, ON HIGHWAY 36. WE MET WHEN WE WERE BOTH TEACHERS. WE MET AT CARSTAIRS. HE WAS TEACHING, AND I STARTED AN INTERNSHIP PROGRAM THERE. WE MET IN THE SPRING, AND THEN I GOT A JOB THERE THAT FALL. WE DATED THROUGHOUT THAT YEAR, AND GOT MARRIED THE FOLLOWING YEAR.” “I GREW UP EAST OF MILK RIVER, IN THE COMMUNITY OF MASINASIN BY WRITING-ON-STONE PARK. I HAD COMPLETED MY HIGH SCHOOL IN MILK RIVER, AND THEN I WENT OFF TO CALGARY TO UNIVERSITY. TWO YEARS OF UNIVERSITY…WAS ALL THAT WAS REQUIRED AT THAT TIME. THERE WAS A TEACHER SHORTAGE, SO YOU COULD GET A JOB AFTER TWO YEARS, WITHOUT YOUR DEGREE, AND THAT’S WHAT I DID. THEN I MET DAVE. WE DECIDED TO GET MARRIED. DAVE WAS HELPING OUT HIS PARENTS AT THEIR FARM IN CASTOR BECAUSE THEY WERE MOVING A HOUSE DURING THAT SUMMER, AND HE WAS HELPING GET THAT HOUSE MOVED FOR HIS PARENTS. I WAS PICKING UP SOME COURSES AT EDMONTON UNIVERSITY. IT JUST HAPPENED THAT I HAD NOT FELT THAT IT WAS IMPORTANT TO HAVE A WEDDING. I JUST THOUGHT WE WOULD JUST GET MARRIED, AND HAVE FAMILY MEMBERS THERE, AND THAT WOULD BE IT. OF COURSE, MY MOM AND DAD SAID, 'NO, WE’RE GOING TO HAVE A WEDDING.' SO, I SAID, 'WELL, I’M GOING.' AFTER MY YEAR OF SCHOOL TEACHING IN CARSTAIRS THAT FINISHED THE END OF JUNE, I WAS DUE IN EDMONTON FOR MY SUMMER SCHOOL CLASSES. SO, I SAID TO MOM AND DAD, 'I GUESS IF YOU WANT A WEDDING, WE’LL TALK BY PHONE, BUT YOU’LL HAVE TO MAKE ALL THE ARRANGEMENTS, AND THE PLANS FOR IT.' SO, THEY DID. WE HAD THE WEDDING.” “[THE WEDDING] WAS ALL THE SAME DAY. THE WEDDING WAS AT ONE O’CLOCK IN THE AFTERNOON [AT SOUTHMINSTER CHURCH]. THEN THE RECEPTION WAS A BIT EARLIER [AT EL RANCHO, WHICH IS NOW THE COAST HOTEL]. THEN WE DROVE DOWN TO THE FARM, AND WE HAD A BIT OF AN ‘OPEN HOUSE’ THERE. THE DANCE WAS AT NINE O’CLOCK [AT THE MASINASIN SCHOOL]. I WAS IN THE [WEDDING] DRESS UNTIL TOWARDS THE END OF THE WEDDING DANCE BECAUSE AT THE WEDDING DANCE YOU HAD TO HAVE YOUR FIRST DANCE WITH YOUR DAD. THEN I WENT BACK TO THE FARM, WHICH WAS ONLY THREE MILES AWAY, AND CHANGED INTO THE GOING AWAY OUTFIT. WE CAME BACK TO THE DANCE, AND SAID GOODBYE TO EVERYBODY THERE, AND THEN WE LEFT FROM THERE.” “IT WOULDN’T HAVE BEEN A COMMUNITY EVENT. I WAS THE YOUNGEST IN MY FAMILY, AND THE ONLY GIRL. MOM AND DAD HAD BEEN VERY ACTIVE IN THE COMMUNITY, AND CERTAINLY HOSTING A WEDDING FOR YOUR DAUGHTER WAS VERY IMPORTANT TO THEM. I GREW UP THINKING, 'HUH, IT DOESN’T MATTER TO ME IF I HAVE A WEDDING OR NOT.' BUT IT CERTAINLY WAS TO THEM, AND TO THE EXTENDED FAMILY IT WAS IMPORTANT. I WAS AMAZED – EVEN WHEN I LOOK THROUGH MY WEDDING BOOK NOW – ALL OF THE AUNTS AND UNCLES THAT CAME. SOME CAME FROM THE UNITED STATES, AND DAVE’S UNCLE, WHO WAS MASTER OF CEREMONIES AT THE RECEPTION, WAS THERE FROM EDMONTON. I WAS AMAZED THAT PEOPLE WOULD COME. I DIDN’T THINK THAT I WAS THAT IMPORTANT THAT ANYBODY WOULD COME, BUT IT TURNED OUT TO BE A VERY, VERY NICE OCCASION, EVERYBODY HAD A VERY GOOD TIME. IT WAS CERTAINLY THE INTRODUCTION OF THE TWO FAMILIES TOGETHER. I RECOGNIZED AFTER-–SOME YEARS LATER-–THAT WEDDINGS ARE HAPPY OCCASIONS, AND THAT IF EXTENDED FAMILIES DON’T GET TOGETHER FOR HAPPY OCCASIONS, THEY OFTEN GET TOGETHER JUST FOR FUNERALS AND MORE SAD OCCASIONS. I CERTAINLY UNDERSTAND NOW HOW IMPORTANT IT WAS TO MY PARENTS, AND THAT IT WAS A GOOD OCCASION FOR THE WHOLE EXTENDED FAMILY.” “THE WAY THE SUMMER PROGRESSED, DAVE WAS VERY BUSY WITH HIS PARENTS…AND I WAS BUSY AT SUMMER SCHOOL. IF YOU KNOW ANYTHING ABOUT SUMMER SCHOOL, YOU KNOW THAT YOU ARE CRAMMING, AND TAKING CLASSES, AND YOU’RE DOING EXAMS. EVERYTHING IS FAST BECAUSE YOU ARE TRYING TO GET IT ALL DONE IN 6 WEEKS, AND YOU’RE TRYING TO MAKE SURE THAT YOU ARE GETTING A FULL CREDIT FOR YOUR COURSE. MY FINAL EXAM WAS ON A TUESDAY, AND I PACKED UP MY THINGS, AND WENT TO CASTOR ON THE WEDNESDAY. [I] PICKED UP DAVE, AND WE CAME TO LETHBRIDGE ON THE THURSDAY. WE MET WITH THE MINISTER ON THE THURSDAY, AND HE SAID THAT HE WAS BEGINNING TO WONDER IF THERE WAS A BRIDE AND GROOM BECAUSE HE HADN’T MET US…WE HAD THE REHEARSAL ON FRIDAY; THE WEDDING ON SATURDAY. FOR OUR HONEYMOON, WE WENT DOWN TO SANDPOINT AND COEUR D’ ALENE ON A LITTLE TRIP DOWN THERE. ONE WEEK LATER WE WERE IN A SMALL TOWN, NEIGHBOURING TO CASTOR, WHERE WE HAD TEACHING JOBS BECAUSE THE SCHOOL YEAR WAS TO START. WE HAD NO TIME TO SET UP A LITTLE TEACHERAGE. THE SCHOOL BOARD THERE RENTED US A HOUSE…THAT WAS HOW WE STARTED. IT WASN’T A VERY GRAND BEGINNING.” “[LETHBRIDGE WAS THE MID-POINT] TO ACCOMMODATE THE FAMILIES. MOM HAD MADE THE ARRANGEMENTS, SO I THINK IT MIGHT HAVE BEEN SOMETHING TO DO WITH WHETHER OR NOT THEY COULD HAVE THE RECEPTION CLOSE [TO SOUTHMINSTER CHURCH]. BECAUSE I WENT TO SUNDAY SCHOOL AND BELONGED TO THE CHURCH IN MILK RIVER – SO DID MY PARENTS –WE WERE AFFILIATED WITH THE UNITED CHURCH. SOUTHMINSTER WAS DEFINITELY NOT OUR HOME CHURCH AT THAT TIME.” CLARKE SPOKE TO HER MOTIVES FOR KEEPING AND DONATING THE WEDDING GOWN AND GOING-AWAY ENSEMBLE, STATING, “IT’S ALWAYS [BEEN] EASY TO KEEP IT. I DON’T THINK I’M A HOARDER, BUT I DO LOVE SENTIMENTAL THINGS, AND I HAVE MY MOTHER’S WEDDING DRESS AND GOING-AWAY OUTFIT. THEY ARE VALUABLE PIECES. THIS DRESS AND THIS OUTFIT, I HAD IT OUT AT OUR 25TH WEDDING ANNIVERSARY. I COULDN’T WEAR IT MYSELF BECAUSE MY ARMS CHANGED, BUT MY NIECE WORE IT, AND WE HAD A BIG PARTY-–FAMILY PARTY–-FOR OUR 25TH. THEN A FEW YEARS AGO SOUTHMINSTER CHURCH HAD A 100TH ANNIVERSARY, SO WE WERE ALL INVITED TO TAKE WHATEVER WE WANTED FROM OUR OWN HISTORY, AND SO [MY WEDDING] DRESS WAS WORN AT THAT OCCASION AS WELL.” “I’VE HUNG ONTO THESE MATERIALS FOR 52 YEARS, AND NOW I’M DOWNSIZING MY HOME SO THAT I CAN LIVE IN A CONDO. MY HUSBAND DIED LAST YEAR, AND, AS I’M DOWNSIZING, I LOOK THROUGH ALL OF THE THINGS THAT WE HAVE ACQUIRED AND PACKED AROUND WITH US FOR ALL OF OUR MARRIED YEARS. I DECIDED THAT THIS DRESS AND THIS OUTFIT WERE NOT GOING ANYWHERE AS LONG AS IT WAS IN MY STUFF, AND THAT PERHAPS THERE WAS SOME VALUE IN IT HAVING IT AS PROPERTY OF THE MUSEUM.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180008001-GA.
Catalogue Number
P20180008002
Acquisition Date
2018-04
Collection
Museum
Images
Less detail
Other Name
MALE COSTUME
Material Type
Artifact
Materials
DEERSKIN (LEATHER), PLASTIC BEADS
Catalogue Number
P19738502002
Material Type
Artifact
Other Name
MALE COSTUME
Date
1969
Materials
DEERSKIN (LEATHER), PLASTIC BEADS
No. Pieces
1
Description
FRONT HAS TRIANGULAR PCE TO COVER OPENING WITH BLUE & RED PLASTIC BEADWORK. BLUE, RED & WHITE BEADWORK PANELS ON SLEEVE & RUNNING FROM SHOULDER DOWN FRONT & BACK. LONG FRINGE FROM SLEEVE & ALONG YOKE. TRIANGULAR NECK PCE AT BACK WITH RED, & BLUE BEADWORK. SLEEVE SPLIT, & NUMEROUS STAINS EVIDENT. REPAIRED IN 1975. BEADWORK IS A GEOMETRIC DESIGN. RIP TO NECK BACK. SEE CONSERVATION REPORT.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
MADE BY SARAH WOLFCHILD. COSTUME WAS ORDERED & MADE VERY QUICKLY FOR THE CITY OF LETHBRIDGE. RECEIVED IN MAY OF 1969. FAMILY HELPED WITH COSTUME, BEADWORK COMPLETED ON A LOOM RATHER THAN HAND SEWN BECAUSE OF HASTE FOR JOB COMPLETION. BEAD DESIGN IS THAT OF THE EAGLE PLUME FAMILY. MAKER IS DECEASED. INFORMATION SUPPLIED BY DAUGHTER OF MAKER, EVANGALINE WOLFCHILD (06/10/92). SEE ALSO P19738502001
Catalogue Number
P19738502002
Acquisition Date
1969-05
Collection
Museum
Less detail

43 records – page 1 of 3.