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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
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
Date Range From
1900
Date Range To
1920
Material Type
Artifact
Materials
WOOL, SILK, STEEL
Catalogue Number
P19990053003
  2 images  
Material Type
Artifact
Date Range From
1900
Date Range To
1920
Materials
WOOL, SILK, STEEL
No. Pieces
1
Height
10.0
Length
98.0
Width
56.5
Description
MEN'S FROCK COAT. BLACK WOOL. DOUBLE BREASTED; BUTTONS ARE STEEL, OVERLAID WITH BLACK THREAD IN A WEAVE PATTERN. IMPRESSED INTO BACK OF EACH BUTTON IS "CARANTIE * 32 * ". COAT HAS NOTCHED LAPELS, THAT END IN A V-SHAPE. COLLAR IS SLIGHTLY NARROWER THAN LAPELS. THERE ARE TWO BUTTON HOLES ON LAPEL, ONE OF WHICH IS SEWN UP. BELOW WAIST LINE JACKET IS SLIGHTLY FULLER. THERE ARE NO OUTSIDE POCKETS, BUT A WELT POCKET ON EACH INSIDE BREAST. INSIDE OF JACKET IS LINED WITH BLACK SILK, EXCEPT FOR SLEEVES WHICH ARE LINED WITH A WHITE AND BLACK STRIPED COTTON. LINING ON RIGHT ARM IS LOOSE, AND APPEARS TO HAVE BEEN REPAIRED. THERE ARE THREE SMALLER BUTTONS SAME AS ABOVE, ON EACH CUFF, WITH MOCK BUTTONHOLES. BACK OF JACKET, HAS A VENT, ABOVE WHICH ARE 2 BUTTONS (SAME AS ABOVE). EACH 'TAIL' OF VENT HAS A HIDDEN SLIT POCKET ON INSIDE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
FINE ARTS
PERSONAL CARE
History
ORIGIN DATE OF THIS COAT IS UNKNOWN, BUT FROCK COATS WERE WORN BY MEN FROM THE END OF THE 18TH CENTURY THROUGH THE 19TH CENTURY. COULD HAVE BEEN REPLICATED LATER TO COPY AN EARLIER STYLE. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “FROCK COAT WAS USED AS A COSTUME PIECE IN “OLIVER” LETHBRIDGE MUSICAL THEATRE IN 1975 AND WAS WORN BY THE CHARACTER PLAYING OLIVER’S GRANDFATHER.”
Catalogue Number
P19990053003
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
COCKTAIL DRESS
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
CHIFFON, NYLON, STEEL
Catalogue Number
P19990053006
  2 images  
Material Type
Artifact
Other Name
COCKTAIL DRESS
Date Range From
1950
Date Range To
1960
Materials
CHIFFON, NYLON, STEEL
No. Pieces
1
Length
106.5
Width
56.5
Description
INNER BODICE AND SKIRT ARE PEACH. SKIRT IS MADE UP OF 2 LAYERS OF CHIFFON, AND IS FLARED. INNER BODICE IS MADE OF PEACH NYLON, COVERED BY A LAYER OF PEACH CHIFFON. INNER BODICE IS STRAPLESS AND SLEEVELESS; HAS CUPS FORMED INTO BODICE AT BREAST. INNER BODICE IS ATTACHED TO OUTER SKIRT AT WAIST LINE; HAS AN IVORY ZIPPER DOWN THE BACK WITH "TALON" ON IT. BODICE HAS STAYS SEWN INTO THE INSIDE, TO HELP KEEP IT STIFF. OUTER DRESS IS MADE OF ONE LAYER OF BLACK, TRANSPARENT, CHIFFON. DRESS IS MADE UP OF ALTERNATING HORIZONTAL STRIPS OF PLAIN FABRIC AND STRIPS WITH VERTICAL LINES, SEPARATED BY ROWS OF BLACK LACE. HAS SHORT SLEEVES AND FLARED SKIRT. HAS A BLACK ZIPPER AT CENTER BACK "TALON". ABOVE THIS THE DRESS IS OPEN, BUT HOOKS WITH AN EYE AT THE BACK OF NECKLINE. THERE IS ABOUT A 1 INCH HOLE ON BACK OF DRESS, AT THE SEAM WHERE TWO HORIZONTAL STRIPS MEET.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
FINE ARTS
History
THIS TYPE OF DRESS WAS POPULARIZED IN THE 1950S AND WAS SUITABLE FOR FORMAL LATE AFTERNOON PARTIES. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “COCKTAIL DRESS NOT USED IN A THEATRE PRODUCTION, BUT SERVED AS A REFERENCE ITEM FOR POSSIBLE COSTUME REPRODUCTION PURPOSES.”
Catalogue Number
P19990053006
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
VELVET, CHIFFON, POLYESTER
Catalogue Number
P19990053007
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
VELVET, CHIFFON, POLYESTER
No. Pieces
2
Height
7.0
Length
125.0
Width
47.5
Description
BLACK VELVET. HAS A HIGH, STRAIGHT CUT NECKLINE (BOAT NECKLINE). NECKLINE IS GATHERED IN THE FRONT AT THE SHOULDERS. SKIRT IS SLIGHTLY FLARED. HAS 3/4 LENGTH SLEEVES MADE OF A SHEER BLACK FABRIC WITH BLACK VELVET DESIGNS ON IT. CUFFS ARE CUT IN A V-SHAPE, SO TOPSIDE IS LONGER THAN BOTTOM SIDE. CUFFS CLOSE WITH A SMALL, METAL SNAP. BACK OF DRESS HAS A SLIT FROM NECKLINE TO CENTER BACK; SLIT CLOSES AT NECKLINE WITH A PLASTIC, SILVER BUTTON SHAPED LIKE A FLOWER. BUTTON HAS A CLEAR GEM IN THE CENTER. DRESS HAS A LOOP OF THREAD ON EACH SIDE, THROUGH WHICH IS A BELT. BELT IS A STRIP OF BLACK POLYESTER?, WITH PEACH COLOURED ENDS. ONE END OF BELT IS FRAYED. DRESS HAS LOOSE THREADS THROUGHOUT. A RIP IN SKIRT HAS BEEN LOOSELY REPAIRED. DRESS IS CUT ON THE BIAS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
FINE ARTS
History
DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “BLACK VELVET DRESS NOT USED IN A THEATRE PRODUCTION, BUT SERVED AS A REFERENCE FOR POSSIBLE COSTUME REPRODUCTION DETAILS OF 1930S CLOTHING.”
Catalogue Number
P19990053007
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
SUMMER DRESS
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
COTTON, BRASS
Catalogue Number
P19990053009
  2 images  
Material Type
Artifact
Other Name
SUMMER DRESS
Date Range From
1910
Date Range To
1920
Materials
COTTON, BRASS
No. Pieces
1
Height
6.0
Length
132.0
Width
49.0
Description
WHITE, COTTON. BODICE AND BOTTOM HALF OF SKIRT HAVE NUMEROUS INTRICATE CUTOUTS AND EMBROIDERY (AN OVERALL FLORAL PATTERN). WAISTBAND AND TOP HALF OF SKIRT HAVE WHITE EMBROIDERED FLOWERS ON THEM WITH TINY CUTOUTS. ABOVE AND BELOW WAISTBAND, DRESS HAS NARROW PLEATS. ELBOW LENGTH SLEEVES END WITH A SCALLOPED EDGE. BOTTOM OF SKIRT HAS A STRAIGHT SOLID BAND AROUND IT. NECKLINE HAS A CROCHETED TRIM AROUND IT. BACK OF DRESS IS OPEN FROM NECKLINE TO HALFWAY DOWN SKIRT; THIS CLOSES WITH NUMEROUS HOOKS AND EYES. TOP OF DRESS IS BEGINNING TO YELLOW. DRESS HAS NUMEROUS TEARS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
FINE ARTS
PERSONAL CARE
History
DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “WHITE COTTON EYELET DRESS NOT USED IN A THEATRE PRODUCTION, BUT SERVED AS A REFERENCE FOR POSSIBLE PERIOD COSTUME REPRODUCTION OF CIRCA 1910.”
Catalogue Number
P19990053009
Acquisition Date
2000-12
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
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
U.S. AIRBORNE JACKET
Material Type
Artifact
Materials
WOOL, SATIN, ALUMINUM
Catalogue Number
P19990053005
  1 image  
Material Type
Artifact
Other Name
U.S. AIRBORNE JACKET
Date
1944
Materials
WOOL, SATIN, ALUMINUM
No. Pieces
1
Height
8.0
Length
76.0
Width
46.0
Description
SHORT, NAVY GREEN. HAS TWO FLAPPED PATCH, BREAST POCKETS, WITH GOLD COLOURED METAL BUTTONS. BUTTONS ARE EMBOSSED WITH AN EAGLE, WITH SPREAD WINGS, OVERLAID WITH A CREST SHAPE. ONE FOOT OF EAGLE IS HOLDING A STEM OF LEAVES, THE OTHER IS HOLDING A BUNCH OF GRAIN. ABOVE EAGLE IS A BANNER THAT READS "EPLURIBUS UNUM", AND ABOVE THIS IS A CIRCLE WITH 12 STARS WITHIN IT; CIRCLE IS SURROUNDED BY A BORDER OF TINY SPHERES. THERE ARE THREE BUTTONS ON FRONT (SAME AS ABOVE, BUT BIGGER). THE BACK OF EACH BUTTON IS IMPRESSED WITH "WATERBURY BUTTON CO. * CONN. * ". JACKET HAS NOTCHED LAPELS. A STRAP AT BOTTOM OF JACKET OVERLAPS THE OTHER SIDE AND GOES THROUGH A GOLD COLOURED BUCKLE. THERE IS A GOLD BUTTON ON EACH SHOULDER (SAME AS ABOVE). THERE IS ONE KHAKI GREEN STRIPE AROUND EACH CUFF. LEFT ARM HAS A ROYAL BLUE PATCH SEWN ON. ON BOTTOM OF PATCH IS A WHITE STAR WITH A RED CENTRE. ABOVE THIS IS A WHITE PARACHUTE, OVERLAID WITH A WHITE AIRPLANE. ON EITHER SIDE OF THE PLANE IS A YELLOW WING. AT THE TOP OF PATCH READS "AIRBORNE TROOP CARRIER". SEWN ON INSIDE OF JACKET ARE FOUR KHAKI GREEN, PLASTIC BUTTONS. ON INSIDE LEFT IS A SIDEWAYS WELT POCKET. TAG INSIDE OF POCKET READS "CINCINATTI, OHIO SPECIALLY CUT AND MADE FOR YOU MR C.H. LANIER DATE 5-18-44 NO 12177". SEWN OUTSIDE OF POCKET IS A MONOGRAM MADE UP OF THREE SQUARES OF FABRIC, IT READS "CHL". THE LETTERS ARE WHITE, FANCY SCRIPT, ON A BLACK BACKGROUND. INSIDE OF JACKET IS LINED WITH GOLD SATIN. STAMPED ON INSIDE IS "L-2229".
Subjects
CLOTHING-OUTERWEAR
Historical Association
FINE ARTS
MILITARY
History
DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “US AIRBORNE JACKET USED IN 1988 PRODUCTION “SOUTH PACIFIC” BY LETHBRIDGE MUSICAL THEATRE AND WORN BY A CAST MEMBER PLAYING ONE OF THE OFFICERS.”
Catalogue Number
P19990053005
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
TUBING
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19940037002
  2 images  
Material Type
Artifact
Other Name
TUBING
Materials
WOOL
No. Pieces
3
Description
1. LEGGING: 24.2CM (L) X 12CM (W). OFF-WHITE WOOL(?) KNIT LEGGING HAS TIGHTLY AND SMALL KNIT ENDS THAT ARE GATHERED BY A THREAD AT EDGE. IN CENTRE HAS SOFTER AND LARGER KNIT. IS THE SAME ALL THE WAY AROUND. HAS SMALL HOLES IN FABRIC, MAY BE INSECT DAMAGE. EDGES ARE WORN. 2. IDENTICAL TO #1, EXCEPT MORE INSECT DAMAGE. 3. TUBING: 34.1CM (L) X 30.5CM (W). SAME MATERIAL AS #1. HAS SMALL AND TIGHTLY KNIT ENDS, ARE ALMOST RIBBED. EDGES ARE KNIT FINISHED. ONE END IS SLIGHTLY WIDER THAN THE OTHER. MIDDLE SECTION IS A LOOSER, SOFTER KNIT. IS TWO KNIT PIECES SEWN TOGETHER, ARE SEAMS DOWN EITHER SIDE. IS A BIT SOILED. HAS MANY HOLES FROM INSECT DAMAGE. EDGES ARE WORN.
Subjects
CLOTHING-OUTERWEAR
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
SEE FILE P19940037001-GA. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING ITEMS DONATED BY LENORA DUCE. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD AND A FAMILY HISTORY DOCUMENT FROM THE CARDSTON HISTORICAL SOCIETY. LENORA ADELAIDE (LAIDA) DUCE (NEE SHEFFIELD) WAS BORN ON FEBRUARY 2, 1898 AT CARDSTON, AB. SHE WAS THE ELDEST DAUGHTER OF WILLIAM W. AND LENORA HUDSON SHEFFIELD. AT THE AGE OF 17 SHE TOOK A JOB WITH AGT AND ON JUNE 1, 1916 SHE WAS APPOINTED AS AGENT CHIEF OPERATOR, A POSITION SHE HELD UNTIL HER MARRIAGE ON FEBRUARY 2, 1921 TO WILLIAM HINMAN DUCE. LENORA PASSED AWAY ON SEPTEMBER 26, 2000. WILLIAM HINMAN DUCE WAS BORN IN CARDSTON, AB ON JULY 23, 1896, THE SON OF THOMAS WILLIAM AND RHODA ADELAIDE HINMAN DUCE. HE WORKED FOR DUCE BROTHERS, A STORE WHICH SOLD SHOES, MEN’S CLOTHING, AND FURNITURE. HE ALSO SERVED IN THE R.N.C.V.R. DURING WWI, TRAINING ON THE WEST COAST AND SERVING IN HALIFAX UNTIL DECEMBER 23, 1918. WILLIAM ALSO SOLD INSURANCE FOR A FEW YEARS, WORKED AT CARDSTON MOTORS, FORD MOTORS IN TABER, INSPECTED CROPS FOR PRAIRIE FARM ASSISTANCE, AND OPERATED A FARM IMPLEMENT BUSINESS. IN 1952, WILLIAM SOLD THE FAMILY HOME IN CARDSTON AND MOVED TO LETHBRIDGE. HE PASSED AWAY ON JANUARY 27, 1971 AT THE AGE OF 74. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD AND THE CARDSTON HISTORICAL SOCIETY. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING A BIB AND SHORTS DONATED BY LENORA S. DUCE. ATTEMPTS MADE TO LOCATE NEXT-OF-KIN OR INDIVIDUALS ABLE TO SPEAK ABOUT THE ARTIFACTS PROVED UNSUCCESSFUL.
Catalogue Number
P19940037002
Acquisition Date
1994-07
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1955
Material Type
Artifact
Materials
WOOL, SATIN?, PLASTIC
Catalogue Number
P19990053001
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1955
Materials
WOOL, SATIN?, PLASTIC
No. Pieces
1
Height
120.3
Length
62.5
Width
7.0
Description
CHESTERFIELD STYLE OVERCOAT. BLACK WOOL, WITH A FAINT PINSTRIPE PATTERN ON OUTSIDE. HAS NOTCHED LAPELS; LAPELS END IN A V-SHAPE; COLLAR IS NOT AS WIDE AS LAPEL. JACKET IS DOUBLE BREASTED; BUTTONS ARE BLACK PLASTIC. HAS 1 FLAPPED WELT POCKET ON OUTSIDE RIGHT, AND TWO FLAPPED WELT POCKETS ON OUTSIDE, LEFT. INSIDE OF JACKET HAS TWO WELT POCKETS, ONE ON RIGHT BREAST, AND ONE ON LEFT WAIST. A TAG INSIDE RIGHT BREAST POCKET READS "14708 15/6 G.2X 372 PASSED NO 76". THERE ARE ALSO THREE BUTTONS SEWN ONTO INSIDE OF JACKET, TWO SMALL AND ONE LARGE. INSIDE OF JACKET HAS A BLACK SATIN? LINING. CUFFS OF SLEEVES EACH HAVE 4 MOCK PLASTIC BUTTONS. AT BACK OF COAT, BOTTOM IS SPLIT. THERE IS A WHITISH SPOT ON BACK OF COAT.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
FINE ARTS
History
THE CHESTERFIELD COAT TRADITIONALLY HAD A VELVET COLLAR, WHICH THIS COAT DOES NOT, BUT OTHERWISE IS THE SAME STYLE. THE CHESTERFIELD COAT WAS POPULAR IN THE LATE 1920S THROUGH 1940, BUT THE PLASTIC BUTTONS ON THIS COAT INDICATE THAT THE COAT WAS MADE AFTER WORLD WAR II. POSSIBLY MADE TO REPRODUCE AN EARLIER POPULAR STYLE. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. **** NARRATIVE AND OVERCOAT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “DONOR IS A TEACHER, PRIMARILY JUNIOR AND SENIOR HIGH SCIENCES, AND GIFTED PROGRAM. SHE HAS BEEN INVOLVED IN ASPECTS OF LOCAL THEATRE WORK FOR MANY YEARS, INCLUDING SCHOOL DRAMA PRODUCTIONS AND COMMUNITY THEATRICAL PRODUCTIONS, NAMELY LETHBRIDGE MUSICAL THEATRE AND PLAYGOERS OF LETHBRIDGE. WITH AN INTEREST IN PERIOD TYPE FASHIONS AND DRESS, AND THEATRICAL COSTUMING, OVER THE YEARS SHE HAD GATHERED A SMALL COLLECTION, OF SUCH COSTUME PIECES OR GARMENTS. THESE ITEMS WERE ACQUIRED FROM LOCAL AND AREA PEOPLE WHO HAD BECOME AWARE OF THESE INTERESTS AND PASSED THEM ALONG TO HER. THEY WERE STORED IN HER HOME IN ORDER TO MORE EFFECTIVELY PRESERVE THEM. SOME PIECES WERE USED IN PRODUCTIONS, SOME SERVED AS REFERENCES FOR CONSTRUCTION DETAILS AND METHODS-USEFUL IN REPRODUCTION OF PERIOD DRESS, WHILE OTHERS-THOUGHT NOT USED, CONTINUED TO BE STORED FOR POSSIBLE USE OR REFERENCE .SOME PIECES WERE MADE OF DELICATE FABRICS OR MATERIALS AND WOULD BE DIFFICULT TO USE IN ANY RIGOROUS STAGE MOVEMENTS. SOME GARMENTS WERE OF SMALL SIZES THAT WOULD NOT FIT THE CURRENT SIZES IN GENERAL OF CAST MEMBERS.” “THIS OVERCOAT WAS USED AS A COSTUME PIECE IN THE PRODUCTION OF PLAYGOER’S “LIFE WITH FATHER” IN 1977, WORN BY FRANK FEATHERSTONE PLAYING CLARENCE DAY” ***ON 20 DECEMBER, 2011, GAIL INFORMED COLLECTIONS STAFF THAT SHE VOLUNTEERED WITH LETHBRIDGE’S PLAYGOERS BEGINNING IN 1975. SHE HAD “A GENERAL INTEREST IN ASPECTS OF THEATRE PRODUCTION WORK” AND WAS INTRIGUED BY HOW STORIES WERE BROUGHT TO LIFE HOW SHE COULD “GIVE THEM FORM AND SUBSTANCE ON A THEATRE STAGE”. HOLLAND BEGAN WORKING IN COSTUME CONSTRUCTION INITIALLY FOR PLAYGOERS AND, SOME YEARS LATER, WORKED AS A COSTUME DESIGNER FOR LETHBRIDGE MUSICAL THEATRE (LMT) FOR MANY PRODUCTIONS. “DESIGN WORK, ESPECIALLY PERIOD PIECES, OR SETTINGS” SAID HOLLAND IN 2010, “OFTEN REQUIRED A GREAT DEAL OF EXTENSIVE AND DETAILED RESEARCH AS PART OF PREPARATION FOR A PRODUCTION, SO AS TO BRING SOME ASPECTS OF AUTHENTICITY TO WHAT WAS BEING CREATED.” IN 1981, HOLLAND RECEIVED A “LEMMY AWARD” (LETHBRIDGE EMMY) FOR COSTUME WORK SHE DID FOR THE “THE KING AND I” AND IN RECOGNITION OF WORK SHE DID IN PREVIOUS PRODUCTIONS. HOLLAND HERSELF PARTICIPATED ON STAGE IN THE PLAYGOERS PRODUCTION OF “THE ODD COUPLE” FEMALE VERSION IN 1987. THE LAST PRODUCTION WORKED ON BY HOLLAND FOR PLAYGOERS WAS IN 2006’S “A BEDFULL OF FOREIGNERS”. IN 2008 SHE ASSISTED LMT WITH ITS PRODUCTION OF “ANNIE”. FOR HOLLAND, THERE IS A DEEP “CARE AND CONCERN FOR PRESERVATION AND CONSERVATION OF CLOTHING.” HAVING CARRIED OUT MUCH RESEARCH HERSELF, “IT SEEMED APPROPRIATE” SHE SAID, “TO PLACE (HER COLLECTION) WHERE [IT] COULD BE MADE AVAILABLE TO OTHERS, FOR REFERENCE OR FOR CONSTRUCTION METHODS THAT MIGHT BE USEFUL TO OTHERS IN CREATING REPRODUCTION.”
Catalogue Number
P19990053001
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
ANGLICAN PRIEST'S STOLE
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
NYLON
Catalogue Number
P19970041737
Material Type
Artifact
Other Name
ANGLICAN PRIEST'S STOLE
Date Range From
1940
Date Range To
1950
Materials
NYLON
No. Pieces
1
Height
0.5
Length
210
Width
18.4
Description
BLACK NYLON STOLE HAS DOUBLE FOLDED NECKLINE AND WIDE BAND ENDS. ENDS OF STOLE ARE SCALLOPED AND FRAYING SLIGHTLY.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
RELIGION
History
STOLE IS AN ANGLICAN PRIEST'S STOLE WHICH 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
P19970041737
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
TUXEDO JACKET
Material Type
Artifact
Materials
WOOL, SILK, WOOD
Catalogue Number
P19990053002
  2 images  
Material Type
Artifact
Other Name
TUXEDO JACKET
Date
1936
Materials
WOOL, SILK, WOOD
No. Pieces
1
Height
108.5
Length
55.5
Width
8.0
Description
CUTAWAY STYLE TUXEDO JACKET. OUTSIDE IS BLACK WOOL. MOCK DOUBLE BREASTED: HAS 6 BLACK WOOD BUTTONS, THAT COME TO A POINT IN THE CENTRES, AND FOUR LINES OF STITCHING TO LOOK LIKE BUTTON HOLES (BUT ARE NOT) HAS NOTCHED LAPELS THAT END IN A V-SHAPE, COLLAR IS NARROWER THAN LAPELS. LAPELS ARE LINED WITH A DIFFERENT FABRIC THAN COLLAR . THERE IS A WELT POCKET ON OUTSIDE LEFT BREAST. THERE IS ANOTHER WELT POCKET ON INSIDE RIGHT BREAST. A TAG INSIDE THIS POCKET READS "RIDPATH CASH TAILOR LETHBRIDGE, ALTA. MR. T. BURNET DATE OCT 1936". INSIDE OF JACKET IS LINED WITH BLACK SILK?, EXCEPT SLEEVES WHICH ARE LINED WITH SILVER SILK. CUFFS OF SLEEVES HAVE THREE SMALLER BUTTONS BUT SAME STYLE AS ABOVE. BUTTONS ON CUFFS DO NOT UNDO. FRONT OF JACKET IS SHORT AND V-SHAPED, AND BACK OF JACKET HAS LONG TAILS. BACK OF JACKET IS SPLIT FROM THE WAIST DOWN. ENDS OF TAILS ARE ROUNDED. THERE ARE TWO BUTTONS SAME AS ABOVE, ON BACK WAIST OF JACKET; BELOW EACH IS A NARROW PLEAT THAT RUN THE ENTIRE LENGTH OF THE TAIL. THERE IS A SMALL HOLE IN RIGHT SHOULDER.
Subjects
CLOTHING-OUTERWEAR
Historical Association
FINE ARTS
PERSONAL CARE
History
JACKET IS NOT IN EXACT STYLE OF THE TRADITIONAL CUTAWAY COAT, BUT BASIC SHAPE IS THE SAME. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “TUXEDO OR CUTAWAY REMAINED IN COLLECTION, THOUGH NOT USED IN A PRODUCTION SERVED AS A REFERENCE ITEM, IF NEEDED. NOTE THAT SIZES OF CLOTHING MADE IN EARLIER YEARS, WERE SMALLER AND SOMETIMES DID NOT FIT CURRENT ACTORS SIZES.”
Catalogue Number
P19990053002
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
NAVAL JACKET
Date Range From
1945
Date Range To
1955
Material Type
Artifact
Materials
WOOL, PLASTIC, ALUMINUM
Catalogue Number
P19990053004
  1 image  
Material Type
Artifact
Other Name
NAVAL JACKET
Date Range From
1945
Date Range To
1955
Materials
WOOL, PLASTIC, ALUMINUM
No. Pieces
1
Height
3.0
Length
71.0
Width
46.5
Description
NAVY BLUE, WOOL. PULL OVER STYLE; HAS A SHORT GOLD ZIPPER ON TOP FRONT. HAS A WELT POCKET ON LEFT BREAST, WITH DECORATIVE STITCHING AT THE SIDES. CUFFS OF SLEEVES HAVE THREE WHITE STRIPES SEWN ON. EACH CUFF ALSO HAS TWO BLACK, PLASTIC BUTTONS, WITH ANCHORS IMPRESSED INTO THEM. TOP OF RIGHT ARM HAS A NAVY BLUE PATCH SEWN ON. EMBROIDERED AT TOP OF PATCH IS A WHITE EAGLE, WITH WINGS SPREAD; BELOW THIS IS A WHITE ANCHOR, OVERLAID BY A TORPEDO SHAPE, AND WINGS AT THE SIDE; BELOW THIS IS A RED V-SHAPED BAR. BACK OF JACKET HAS A TURNED DOWN RECTANGULAR FLAP, WITH THREE WHITE STRIPES SEWN AROUND THE PERIMETER (THAT GO AROUND TO THE FRONT ON INSIDE OF ZIPPER). EMBROIDERED ON BACK FLAP IS A WHITE STAR IN THE TWO LOWER CORNERS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
FINE ARTS
MILITARY
History
A UNITED STATES NAVY SEAMAN'S TUNIC, PROBABLY USED AROUND THE SECOND WORLD WAR. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “MILITARY NAVAL JACKET WAS NOT USED IN A THEATRE PRODUCTION, BUT SERVED AS A REFERENCE FOR REPRODUCTION PURPOSES, IF NEEDED.”
Catalogue Number
P19990053004
Acquisition Date
2000-12
Collection
Museum
Images
Less detail

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