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Other Name
MALE COSTUME
Material Type
Artifact
Materials
DEERSKIN (LEATHER), PLASTIC BEADS
Catalogue Number
P19738502004
  1 image  
Material Type
Artifact
Other Name
MALE COSTUME
Date
1969
Materials
DEERSKIN (LEATHER), PLASTIC BEADS
No. Pieces
2
Description
WHITE BUCKSKIN, GEOMETRIC BEADWORK (RED, WHITE & BLUE). CUT LEATHER FRINGE ALONG LENGTH OF OUTSIDE SEAM, EA. LEG.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
MADE BY SARAH WOLFCHILD. SEE P19738502001 & 002 FOR HISTORY.
Catalogue Number
P19738502004
Acquisition Date
1969-05
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
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
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
Date Range From
1920
Date Range To
1929
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19860111000
  2 images  
Material Type
Artifact
Date Range From
1920
Date Range To
1929
Materials
COTTON
No. Pieces
2
Length
16.5
Width
68.0
Description
.1 KIMONO. GREEN. BACK OF KIMONO AND SLEEVES HAVE A SINGLE LEAF DESIGN, ONE PER SLEEVE AND BACK. APPEARS TO HAVE BEEN PAINTED OR DYED IN PLACE, NOT PART OF FABRIC PRINT. LOWER THIRD OF SLEEVES AND BODY OF KIMONO EXHIBITS A NUMBER OF FLOWERS DYED BLUE, WHITE, PURPLE SHADES. A 10 CM TEAR HAS BEEN REPAIRED ON UPPER BACK OF GARMENT. RED LINING FOR SLEEVES, BODY AND COLLAR OF GARMENT. SOMEWHAT STAINED. BOTTOM PORTION OR GARMENT RATHER STAINED. .2 SASH. 13.7 CM X 116 CM (EXCLUSIVE OF TYING RIBBON). RED WITH WHITE TYING RIBBON. SASH SHAPED WITH BOW AND FASTENED WITH TWO LENGTHS OF ATTACHED RIBBON. SASH HAS AN UNKNOWN STIFFENING MATERIAL SEWN IN.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
DONOR STATES KIMONO WAS PURCHASED IN JAPAN IN 1920'S. DONOR BORN IN LETHBRIDGE IN 1907. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING THIS KIMONO. THE FOLLOWING INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. DOROTHY SAINT-AMOUR (NEE DANIEL) WAS BORN IN 1907, THE SECOND DAUGHTER OF CHARLES ROLAND AND MAURINE DANIEL. SHE MARRIED ROBINSON SAINT-AMOUR ON JANUARY 7, 1933 IN NEW YORK. DOROTHY PASSED AWAY ON MAY 14, 1988. HER MOTHER, MAURINE, WAS BORN IN MISSOURI ON JANUARY 4, 1881 AND MOVED TO THE LETHBRIDGE AREA WITH HER HUSBAND IN 1905. MAURINE PASSED AWAY AT AGE 73 IN NOVEMBER 1954. SEE PERMANENT FILE FOR HARD COPIES OF THE LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P19860111000
Acquisition Date
1986-03
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
SATIN, POLYESTER, SATIN THREAD, METALLIC THREAD
Catalogue Number
P19860038000
  2 images  
Material Type
Artifact
Date
1967
Materials
SATIN, POLYESTER, SATIN THREAD, METALLIC THREAD
No. Pieces
2
Description
BLACK, GOLD, RED, BLUE, GREEN, PINK, ORANGE. SIZE MEDIUM. BLACK SATIN JAPANESE KIMONO WITH GOLD POLYESTER LINING, SEWN ENTIRELY BY HAND. EMBROIDERED ON FRONT PANELS AND BOTH SLEEVES IN GOLD METALLIC AND ORANGE THREAD ARE SWIRL DESIGNS. EMBROIDERED ON BACK ARE GOLD METALLIC PADDED DRAGON, GREEN TREES, PINK, BLUE, RED, WHITE PAGODA ROOF AND A GOLD & SILVER METALLIC PADDED TIGER. 1.4 CM SATIN BELT.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
DONOR PURCHASED THE KIMONO WHEN HE VISITED JAPAN IN 1967. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A KIMONO DONATED BY FRED KING. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. FREDERICK “FRED” THOMAS KING WAS BORN IN LONDON, ENGLAND ON JANUARY 21, 1904 AND MOVED TO CANADA IN 1919, ARRIVING IN EITHER MAPLE CREEK, SK OR SWIFT CURRENT, SK. HE LIVED IN WINNIPEG, MB FOR A SHORT PERIOD OF TIME, WHERE HE “TOOK A FARM ENGINEERING COURSE … THEN [HE] WORKED FOR CP RAIL’S CONSTRUCTION BRANCH IN SOUTHERN ALBERTA. HE ALSO WORKED ON BUILDING THE MAPLE LEAF REFINERY AT COUTTS BEFORE COMING TO LETHBRIDGE IN 1927 TO OPEN A SERVICE STATION” ACCORDING TO AN ARTICLE ABOUT HIS DEATH PUBLISHED ON MARCH 10, 1986 IN THE HERALD. THIS ARTICLE CONTINUES: “HE WORKED FOR BAALIM MOTORS FOR YEARS. HIS DRIVE FOR INDEPENDENCE RESULTED IN FRED KING MOTORS IN 1945, WITH A STUDEBAKER FRANCHISE. THREE YEARS LATER, HE OPENED BRAND NEW PREMISES AT 11TH STREET AND 3RD AVENUE S. WHEN STUDEBAKER CEASED TO MANUFACTURE CARS, KING SECURED A CHRYSLER DEALERSHIP (DODGE AND DESOTO) WHICH HE OPERATED UNTIL RETIRING IN 1972.” THIS ARTICLE ALSO LISTS FRED’S INVOLVEMENT IN THE MILITARY/MILITIA, AND INVOLVEMENT IN VARIOUS COMMUNITY GROUPS INCLUDING THE LETHBRIDGE CHAMBER OF COMMERCE, THE GYRO CLUB, THE LETHBRIDGE GOLD AND COUNTRY CLUB, THE CHINOOK CLUB, THE GENERAL STEWART BRANCH OF THE ROYAL CANADIAN LEGION, AS WELL AS SERVING MORE THAN 52 YEARS WITH THE LETHBRIDGE SHRINE CLUB. FRED’S OBITUARY, PUBLISHED ON MARCH 11, 1986 LISTS HIS ACHIEVEMENTS AND COMMUNITY INVOLVEMENTS: “MR. KING WAS APPOINTED HONORARY LIEUTENANT COL. 18TH FIELD RGT. ROYAL CANADIAN ARTILLERY 1965 AND HONORARY COL. 1969-1977. HE WAS ALSO APPOINTED TO THE BOARD OF GOVERNORS OF THE ARMY CADET LEAGUE OF CANADA FROM 1971-1977 AND SERVED ON THE BOARD OF GOVERNORS OF THE ALBERTA ARMY CADET LEAGUE FROM 1971-1978 AND WAS PRESIDENT FROM 1975-1976.” FRED’S FIRST WIFE, MARY KING (NEE MCNAUGHTON) PASSED AWAY IN 1963. SHE WAS A TEACHER AT LETHBRIDGE COLLEGIATE INSTITUTE. FOLLOWING HER DEATH, FRED WAS REMARRIED TO NANCY TIDMARSH. FRED PASSED AWAY AT THE AGE OF 82 ON MARCH 8, 1986. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD.
Catalogue Number
P19860038000
Acquisition Date
1985-10
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1955
Material Type
Artifact
Materials
SATIN, SILK, THREAD
Catalogue Number
P20130015000
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1955
Materials
SATIN, SILK, THREAD
No. Pieces
3
Height
0.2
Length
92
Width
36
Description
A - CHILD’S KIMONO, PURPLE SATIN WITH PATTERNING DEPICTING CRANES, CHERRY BLOSSOMS AND CHRYSANTHEMUM FLOWERS IN WHITE, RED, BLUE AND GREEN. VERY GOOD CONDITION OVERALL - SOME FRAYED THREADS ALONG SEAM EDGES. 0.2H X 92L X 36W B - SILK SASH WITH REPEATING FLORAL AND DOT PATTERN IN PINK AND RED. VERY GOOD CONDITION - TWO SMALL BROWN STAINS ON RIGHT SIDE. 0.02H X 137.5L X 28.5W C - WOVEN BELT WITH GREY AND MAROON HORIZONTAL STRIPE PATTERN. BRAIDED THREAD TIES AT EACH END. VERY GOOD CONDITION OVERALL. 0.05H X 152L X 10.5W
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
THIS KIMONO BELONGED TO THE DONOR, IRENE SAKAMOTO, WHO WORE IT DURING DANCE PERFORMANCES PROGRAMMED FOR THE TABER BUDDHIST CHURCH CONGREGATION IN THE 1950S. IN JULY 2013, GALT MUSEUM COLLECTIONS TECH KEVIN MACLEAN INTERVIEWED SAKAMOTO ABOUT THE KIMONO AND HER FAMILY’S RELOCATION AND LIFE IN SOUTHERN ALBERTA. SAKAMOTO SAID: “I WAS ONLY TWO MONTHS OLD WHEN WE CAME TO ALBERTA [IN 1942]. WE WERE SHIPPED FROM PITT MEADOWS TO TABER. ORIGINALLY WE WERE ASSIGNED TO GO TO WINNIPEG, BUT MY GRANDFATHER THOUGHT BECAUSE I WAS A BABY… HE FELT THE TRIP TO WINNIPEG WOULD BE TOO MUCH FOR MY MOTHER... SO HE APPLIED TO GO TO TABER. WHEN WE ARRIVED IN LETHBRIDGE, THE PEOPLE WHO WERE GOING TO TAKE US ARRIVED IN SORT OF LIKE A WAGON AND TOOK US TO THE FARM IN TABER… I THINK IT WAS A SHACK OF SOME SORT THAT THEY HAD US SETTLE IN… I DON’T KNOW WHAT WAS IN THIS SHACK BEFORE, BUT WE HAD TO LIVE THERE… [WHEN] WE LIVED AT VALGARDSON’S FARM, THIS LADY CALLED MRS. CONSKY WOULD COME WITH HER CAR TO PICK UP ALL OF US JAPANESE KIDS AND TAKE US TO THE GOSPEL HALL… AND MY GRANDPA MUST NOT HAVE LIKED THAT, SO SOMEHOW THEY MANAGED TO GET DONATIONS AND WHAT-NOT AND THEY WERE ABLE TO EITHER PURCHASE THIS OLD HUNGARIAN HALL THAT, IT WAS A SMALL BUILDING, WHETHER IT WAS DONATED BY THE HUNGARIAN PEOPLE, I DON’T KNOW THAT PART, BUT WE HAD A SMALL [BUDDHIST] CHURCH AT THAT TIME. THEN OUR MEMBERS STARTED INCREASING, AND THEN WE GOT MORE DONATIONS SO THEY WERE ABLE TO BUILD THE OTHER PORTION OF IT… WE MOVED INTO [TABER] WHEN I WAS SIX [IN 1948]… AT RAYMOND, PICTURE BUTTE, COALDALE, WHEREVER THERE WAS A BUDDHIST CHURCH, WE DANCED… AND MY AUNT… SHE WOULD TEACH US HOW TO DO SOME OF THE DANCING AND MY MOTHER WOULD INTERPRET THE MUSIC AND WHATNOT TO MY AUNT, BECAUSE MY AUNT COULDN’T, WELL SHE PROBABLY COULD READ JAPANESE, BUT NOT LIKE MY MOTHER COULD. AND THEN THEY WOULD FORM SOME KIND OF DANCE PIECE… [DANCING] WAS SOMETHING FOR US TO DO, YOU KNOW. AND WE’D GO, PILE INTO THE CAR AND GO TO PRACTICE. AND WE’D BE WITH OUR FRIENDS… BECAUSE, WELL, CHURCH WAS FUN, YOU KNOW. IT’S NOT LIKE IT IS NOW, BUT IT WAS FUN AT THAT TIME, BECAUSE WE ALL, IT WAS MORE LIKE A SOCIAL GATHERING I THINK, MORE SO THAN ANYTHING… THE OLDER LADIES WOULD DRESS US... AND I WAS ONE THAT HAD TO HAVE MY SASH REALLY TIGHT. I COULDN’T STAND IT WHEN IT WAS LOOSE. EVEN TO DO A DANCE, I COULDN’T STAND IT, SO THERE WAS ALWAYS TWO LADIES THAT WOULD GRAB HOLD OF THIS THING [GESTURING TO P20130015000.2) AND THEY’D SAY SOMETHING IN JAPANESE ABOUT ME WANTING IT THAT TIGHT, AND HOW COULD SHE MOVE, BUT THAT’S THE WAY I LIKED IT… [CHURCH SERVICES WERE] ALL IN JAPANESE… THE MINISTERS WERE ALL FROM JAPAN, I’M SURE. WE COULDN’T UNDERSTAND WHAT THEY WERE SAYING. AND WE WERE FORTUNATE, WE HAD A MOTHER WHO WAS FROM JAPAN AND MY DAD WAS CANADIAN-BORN. IF WE GOT STUCK WITH A WORD IN ENGLISH, MY DAD WAS THERE TO TRANSLATE FOR US… SO THE MINISTER WOULD GET UP IN JAPANESE TO SPEAK TO THE CONGREGATION. WHAT WE HAD TO DO WHEN WE WERE GOING TO CHURCH IS WE WOULD GO UP TO THE FRONT AND WE’D DO OUR LITTLE THING, AND WE’D GET CANDY OR A CHOCOLATE BAR OR SOMETHING, YOU KNOW, FOR BEING SO GOOD FOR COMING TO CHURCH… THAT’S HOW THEY KEPT US KIDS COMING, I THINK. AND WHEN IT WAS TIME FOR THE MINISTER TO SPEAK, THEY TOOK US OUT [TO SUNDAY SCHOOL]… IT WAS HARD TO UNDERSTAND HIM, AND THEN, BEING KIDS, WE’D START MAKING NOISES AND WHATNOT, SO WE WERE TOLD TO GO... WE VERY SELDOM SAT IN A SERVICE… AND THAT’S WHY, WHEN I CAME HERE TO LETHBRIDGE, I ASKED A LADY WHO SPOKE ENGLISH TO EXPLAIN TO ME SOMETHING ABOUT THE BUDDHIST RELIGION, AND SHE COULDN’T. SO THEN I THOUGHT, ‘I’M NOT GOING TO CHURCH ANYMORE.’ SO I QUIT DANCING AND I QUIT GOING TO CHURCH [AT SIXTEEN]… I THINK A LOT OF US GOT AWAY FROM IT... WE USED TO HAVE A YOUNG BUDDHIST ASSOCIATION [BUT] IT’S GONE BY THE WAYSIDE. AND SO, A FEW OF MY FRIENDS WHO HAVE, THEIR KIDS ARE MARRIED… TO CAUCASIAN PEOPLE… AND THAT’S WHAT ONE OF MY FRIENDS WAS SAYING, YOU KNOW. IT’S NOT THAT SHE WAS PREJUDICED ABOUT ANY OF THESE MARRIAGES, DON’T GET ME WRONG, BUT SHE JUST SAID, WE HAD THESE DANCES, AND THAT’S WHERE WE MET OTHER JAPANESE GIRLS OR BOYS OR WHATEVER, AND SHE SAYS, ‘NOW THERE ISN’T ANY SUCH THINGS.’… WHEN I CAME TO LETHBRIDGE, I STARTED GOING TO SOME OF THE YBA FUNCTIONS. AND I WENT TO THE DANCES IN TABER, RAYMOND AND ALL THOSE PLACES. AND NEW YEAR’S DANCE WAS THE MAIN THING… AND AT MIDNIGHT THERE WOULD BE A BOWL OF NOODLES. THAT WAS THE TRADITION. BUT IT’S NO MORE, I MEAN THERE’S NO SUCH THING LIKE THAT… I’M PROUD OF MY JAPANESE HISTORY, OR HERITAGE I SHOULD SAY, BUT I DON’T KNOW IF IT SHAPED ME. ALL I KNOW IS I DID LOVE [DANCING].” FOR FURTHER INFORMATION AND A TRANSCRIPT OF THE INTERVIEW, SEE PERMANENT FILE.
Catalogue Number
P20130015000
Acquisition Date
2013-07
Collection
Museum
Images
Less detail
Other Name
HIGHLAND COSTUME SET
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOL, SATIN, LEATHER
Catalogue Number
P19738784000
  1 image  
Material Type
Artifact
Other Name
HIGHLAND COSTUME SET
Date Range From
1900
Date Range To
1910
Materials
WOOL, SATIN, LEATHER
No. Pieces
14
Description
.1 SCOTTISH BONNET. WOOL, SATIN, RIBBON AND NICKEL PLATE. 2 PIECES. SCOTTISH BONNET OF KNITTED WOOL WITH SATIN RIBBON BINDING AND SATIN LINING. "WARRANTED INDIGO DYE (CREST) LOHME" INSIDE OF BONNET. BACK SEAM TORN. PIN: NICKEL PLATE AND BRASS, MAN HOLDING X "THE ROYAL SCOTS BELOW". .2 DRESS JACKET. 46(L) X 43(W) (DIMENSIONS DO NOT INCLUDE SLEEVE LENGTH). BRASS, NICKEL PLATE, WOOL, SATIN, LEATHER. SIZE: S. RED DRESS JACKET WITH NAVY BLUE CUFFS AND STAND UP COLLAR WITH WHITE TRIM. NICKEL PLATE AND BRASS BUTTONS. "WM SCULLY LTD. MONTREAL" ON BACK OF BUTTONS. THREE BUTTONS ON EACH CUFF. "REX TAILORING CO. LTD. TORONTO" LABEL ON INSIDE OF JACKET. .3 SCOTTISH CAPE. WOOL, LEATHER, CHROME. RECTANGULAR CAPE WITH PLEATED PIECE WHICH ATTACHED TO BELT IN BACK AND PLEATED PIECE WHICH COMES OVER SHOULDERS. ROYAL STEWART PLAID. ATTACHED TOP LEATHER BELT WHICH HOLDS CAPE AROUND WAIST. HANDWRITTEN TAG: "G. TIFFIN" .4 CAPE PIN. SILVER. ROUND PIN WITH THISTLES ENGRAVED ON FRONT. CENTER HAS FOUR MARKS WHICH APPEAR TO HAVE HAD SOMETHING ATTACHED TO THEM AT ONE TIME. "EPINS" STAMP MARK ON BACK. .5 SCOTTISH KILT. WOOL. SIZE: S. ROYAL STEWART PLAID KILT AND KILT PIN. THREE BUTTONS ON RIGHT SIDE. FEW SMALL HOLES. .6 SCOTTISH SPORRAN. SILVER, LEATHER, HORSE HAIR, CHAIN. 2 PIECES. SILVER TOP WITH THISTLES ENGRAVED ON FRONT. BLACK LACQUERED LEATHER BENEATH. WHITE HORSEHAIR BACKGROUND AND TWO BLACK HORSEHAIR TASSELS. BROWN LEATHER BUCKING. "MADE IN SCOTLAND" ON BACK. BLACK LEATHER BELT WHICH MAY BE A REPLACEMENT. .7 SOCKS AND GARTERS (SET). WOOL, ELASTIC, COTTON. 4 PIECES. ROYAL STEWART PLAID KNITTED WOOL SOCKS. GARTER WITH RED COTTON TABS AND ELASTIC. .8 SCOTTISH SHOE BUCKLES. 3.8 CM WTH., 6.4 CM LTH. NICKEL PLATE BUCKLES WITH PATENT LEATHER AND LEATHER INSERTS. THISTLE DESIGN. "MADE IN SCOTLAND" ON BACK.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
"THE ROYAL TARTAN" THE PERSONAL TARTAN OF THE ROYAL HOUSE OF SCOTLAND, NOW CONSIDERED TO BE THE ROYAL TARTAN OF HER MAJESTY THE QUEEN. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING AN ETHNIC UNIFORM/HIGHLAND COSTUME SET DONATED BY R. PATTERSON. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD AND AN INTERVIEW WITH GREGORY TIFFIN, FORMER OWNER OF THE DONATED KILT. RODERICK MCKENZIE PATERSON WAS BORN AND RAISED IN DUMFERLINE, FIFESHIRE, SCOTLAND. HE MOVED TO LETHBRIDGE IN 1922 AND REMAINED HERE UNTIL HIS DEATH. HE WAS MARRIED ON OCTOBER 2, 1939 TO CHRISTINA ARMITT. DURING THE SECOND WORLD WAR, RODERICK SERVED OVERSEAS WITH THE CALGARY HIGHLANDERS AND HE WAS LATER EMPLOYED BY THE BANK OF MONTREAL FOR 23 YEARS. HE STARTED AND DIRECTED THE BOONIE DOON PIPE BAND, WHICH IS WHERE THIS ETHNIC UNIFORM COMES FROM. RODERICK PASSED AWAY ON DECEMBER 15, 1976. AN ARTICLE PUBLISHED ON SEPTEMBER 10, 1954 DISCUSSES THE RECENT FORMATION OF THE BONNIE DOON ASSOCIATION: “A REVIVAL OF SCOTTISH GAMES, PIPING AND DANCING IS THE AIM OF THE BONNIE DOON ASSOCIATION, RECENTLY ESTABLISHED IN THE CITY … PRESIDENT OF THE GROUP IS ROBERT POTTER … COMMITTEE MEMBERS ARE MRS. RODERICK PATERSON…” THE ARTICLE CONTINUES SAYING THAT THE “FIRST ACTIVITY PLANNED BY THE GROUP IS A CORN ROAST AND DANCE ON SEPT. 24 FOR THE MEMBERS OF THE BONNIE DOON PIPE BAND.” AN ARTICLE PUBLISHED ON JUNE 20, 1960 “GOGGLE-EYED YOUNGSTERS” RELAYS DETAILS ABOUT THE BONNIE DOON PIPE BAND’S TRIP TO SCOTLAND: “BY THE TIME YOU READ THIS, THE BONNIE DOON PIPE BAND, COMPOSED OF 16 GOGGLE-EYED YOUNGSTERS AND FOUR SLIGHTLY WEARY ADULTS WILL BE IN INVERNESS, SCOTLAND, PREPARING FOR THE COMPETITION IN THE JUNIOR SECTION OF THE WORLD PIPE BAND CHAMPIONSHIPS TO BE HELD IN THE CAPITAL OF THE HIGHLANDS ON SATURDAY JUNE 25, AFTER A TRIP OF MORE THAN 6,000 MILES BY TRAIN, JET PLANE AND BUS … THE TRIP ACROSS THE COUNTRY IN A SPECIAL CPR COACH WAS AN ADVENTURE THAT WILL LIVE WITH THE PARTY FOR MONTHS TO COME. MOST OF THE YOUNGSTERS, FOUR GIRLS AND 12 BOYS, WERE RIDING ON A TRAIN FOR THE FIRST TIME AND EVERYONE TRAVELLED LIKE LITTLE CHAMPIONS.” “KILTED BONNIE DOONS” PUBLISHED ON JUNE 24, 1960 ELABORATES FURTHER AND LISTS THE BAND MEMBERS: “THE ‘BONNIE DOONS’ SCATTERED THROUGOUT THE PLANE, LISTENED INTENTLY. ROBIN MALLALIEU, STEWART MCMILLAN, GORDIE EARL, HEATHER RENNIE, ROXY RHODES, MAUREEN MCLAUGHLIN, HARRY LOWE, AND HIS CURLY HEADED DRUMMER BROTHER, MYRIN, AGED 10, AND THE YOUNGEST IN THE BAND, ALL WATCHED WITH EYES ABUG AS TORONTO, SPRAWLED OUT BELOW, FADED INTO THE DISTANCE. ELSEWHERE IN THE PLANE THE REST OF THE BAND WAS THRILLED TO A NEW ADVENTURE AS THE PLANED ROARED ALONG TO 19,000 FEET … GEORGE SHANKS, JOHN PATERSON, LAYNE BACEDA, BOBBY SEAMAN, TOMMY PONECH, BRENDA JEACOCK, DWAYNE MATHESON AND GREG TIFFIN WERE BUSY ASKING QUESTIONS AND CHATTERING LIKE MAGPIES AS THE PLANE ROARED THROUGH THE NIGHT TO OVERTAKE THE DAWN.” A PHOTO AND CAPTION PUBLISHED ON JULY 2, 1960 INDICATE HOW WELL THE BAND PERFORMED: “YOUNGEST MEMBER OF THE ‘BONNIE DOON’ PIPE BAND FROM LETHBRIDGE, MERYIN LOWE, 10, IS SEEN BEFORE THE COMPETITIONS AT INVERNESS, SCOTLAND. HE WAS BILLED AS ‘THE DRUMMER BOY FROM ALBERTA’ IN THE SCOTTISH PRESS. THE GOODWILL AMBASSADORS FROM LETHBRIDGE CAME FOURTH IN THE JUNIOR PIPE BAND COMPETITIONS AND CREATED A PLEASING IMPRESSION WHEREVER THEY WENT.” THE FOLLOWING DETAILS COME FROM AN INTERVIEW WITH GREGORY TIFFIN: “I WOULD HAVE BEEN ABOUT 12 TO 13 … [WHEN WE WENT] TO SCOTLAND FOR TWO WEEKS. THAT WAS A LOVELY TRIP, I STILL REMEMBER IT … IT WAS CALLED THE TEN THOUSAND PIPER AND AWE AND THERE WERE THAT MANY AND IT WAS A COMPETITION THAT WE HAD ENTERED AND WE WERE THE ONLY FOREIGN GROUP YOU KNOW. CONSEQUENTLY WE WERE UP AGAINST SOME PRETTY GOOD TALENT, BECAUSE WE WERE JUST KIDS AND LOTS OF THEM WERE ADULT BANDS, SO WE COMPETED JUST LIKE THE REST OF THEM. AND IT WAS QUITE AN EXPERIENCE BECAUSE THEY HAVE THE DRUM MAJOR, THE FELLOW THAT WALKS OUT FRONT AND HAS THE BIG MACE, ANYWAYS THEY HAVE A COMPETITION FOR THEM AND THEN THE BANDS HAVE TO PERFORM AND THEY ACTUALLY HAD A LITTLE BOOTH SET UP WHERE JUDGES SAT INSIDE AND THEY DIDN’T SEE THE BAND, BUT THEY LISTENED TO THE BAND.” WHEN ASKED ABOUT RODERICK PATERSON, GREG HAD THE FOLLOWING TO SAY: “HE WAS A STAUNCH LITTLE SCOTSMAN … HE USED TO LOSE HIS TEMPER ONCE IN A WHILE WHEN WE DIDN’T BEHAVE, BUT WE WERE 12, 13, 14 YEARS OLD, WHAT DO YOU EXPECT FROM US?” HE CONTINUED: “ROADIE WAS A GREAT OLD CONDUCTOR, WE USED TO PRACTICE IN ROADIE’S BASEMENT, I THINK IT WAS ON 12B STREET NORTH, AND ABOUT BETWEEN 8TH AND 9TH AVE. HE HAD THIS LITTLE WARTIME HOUSE AND WE USED TO CONGREGATE DOWN THERE AND HE HAD A BIG TABLE, MUCH LIKE THIS ONE, EXCEPT A BIT SMALLER, AND THE PIPERS USED TO SIT AROUND WITH JUST THEIR CHANTERS, WHAT THEY CALL THE CHANTER, MAKES ALL THE RACKET AND THEY’D PLAY THEIR TUNE. AND THEN THE DRUMMERS, WE HAD A GLASS TOP TABLE IN THE BACK AND WE PRACTICED OUR RUDIMENTS BACK THERE. THAT WAS EVERY THURSDAY NIGHT GOING BACK AND FORTH AND WE MARCHED. EVERY THURSDAY NIGHT, WE WOULD MARCH UP AND DOWN 12B STREET NORTH.” GREG GAVE DETAILS ABOUT THE NUMBER OF DRUMMERS IN THE BAND: “THERE WERE THE BASS DRUMMER, TWO TENOR DRUMMERS WHICH IS A SMALL VERSION OF A POM-POM TYPE OF DRUM PLAYED WITH ROUNDED MALLETS, TWIN STICKS. AND THERE WERE FOUR SNARE DRUMMERS. SO THAT WOULD MAKE SEVEN AND SO THAT WOULD HAVE BEEN ABOUT NINE PIPERS I GUESS.” SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD, AS WELL AS A TRANSCRIPT FROM THE INTERVIEW WITH GREGORY TIFFIN.
Catalogue Number
P19738784000
Acquisition Date
1969-05
Collection
Museum
Images
Less detail
Date Range From
1977
Date Range To
2000
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20150038002
  2 images  
Material Type
Artifact
Date Range From
1977
Date Range To
2000
Materials
COTTON
No. Pieces
5
Length
68.9
Width
106.5
Description
MEZOSEGI STYLE OF DRESS. .1: BLOUSE. MANUFACTURED. WHITE, THREE-QUARTER LENGTH SLEEVE, BUTTON-UP, TRIMMED IN LACE. BAND COLLAR, TRIMMED WITH A THIN BAND OF WHITE LACE. SLEEVES HEMMED WITH TWO RUFFLES OF WHITE LACE AND EACH BAND OF LACE IS 12.5 CM WIDE. BLOUSE CLOSES IN THE FRONT WITH 5 BUTTONS. PLACKET TRIMMED WITH THE SAME LACE FOUND AT THE COLLAR. REMNANTS OF A BLACK LABEL FOUND AT THE BACK OF NECK, INSIDE BLOUSE. L: 68.9CM W: 106.5CM OVERALL EXCELLENT CONDITION. .2: UNDERSKIRT. HANDMADE. IVORY COLOURED, APPROXIMATELY KNEE LENGTH, WITH MACHINE-MADE LACE DETAILING ALONG HEM. CLOSES AT WAIST WITH TWO VERY LONG IVORY COLOURED BIAS TAPE TIES, ONE OF WHICH IS 109.0 CM LONG, THE OTHER IS 136.0 CM LONG. TO INCREASE FULLNESS OF THE UNDERSKIRT, THERE IS A 27.5 CM WIDE RUFFLE ALONG THE BOTTOM OF THE SKIRT. THIS RUFFLE AND THE HEM LINE ARE BOTH TRIMMED IN A FLORAL PATTERNED LACE. L: 56.2CM W: 87.7CM OVERALL VERY GOOD CONDITION. LACE TRIM HAS COME UNDONE AT THE FRONT OF THE SKIRT, ON THE UPPER RUFFLE AND ESPECIALLY ON THE LOWER RUFFLE. .3: VEST. HANDMADE. PINK AND YELLOW FLOWERS WITH GREENERY ON MAROON BACKGROUND, CLOSES IN FRONT WITH BLACK VELCRO, CROPPED LENGTH. TRIMMED WITH PINK CREPE AROUND NECKLINE AND AROUND ARMS. BAND OF PINK CREPE AROUND EACH SHOULDER STRAP, CREATING A SLIGHT SWEETHEART NECKLINE. THE SAME PINK CREPE IS ON THE INSIDE OF THE VEST AT THE HEM. L: 46.0CM W: 48.2CM OVERALL EXCELLENT CONDITION. .4: OVERSKIRT. HANDMADE. PINK AND YELLOW FLOWERS WITH GREENERY ON MAROON BACKGROUND, SEVERAL STRIPS OF FABRIC OR RIBBON ALONG HEMLINE OF SKIRT. ACCORDION PLEATS MAKE FOR A VERY FULL SKIRT. CLOSES AT WAIST WITH WHITE VELCRO AND MAROON BIAS TAPE TIES, ONE OF WHICH IS 91.5 CM LONG, THE OTHER IS 92.5 CM LONG. STRIPES OF FABRIC OR RIBBON START 24.0 CM FROM BOTTOM OF SKIRT. THE FIRST STRIP IS MADE OF YELLOW SATIN FABRIC, THEN A THIN SECTION OF THE SKIRT FABRIC. NEXT IS A 10.7 CM WIDE STRIP OF PINK: A THIN SATIN RIBBON OF LIGHT PINK IS SEWN ONTO THE TOP AND BOTTOM OF A PIECE OF DARKER PINK CREPE, MUCH LIKE THAT FOUND ON THE TRIM OF THE VEST (P20150038002.3). BELOW THE TWO-TONED PINK STRIPE IS ANOTHER STRIP OF SKIRT FABRIC. THEN THERE IS A STRIP OF YELLOW SATIN RIBBON, BABY BLUE SATIN RIBBON, AND FINALLY AT THE VERY BOTTOM OF THE HEMLINE, A STRIP OF RED SATIN RIBBON. WIDTH OF SKIRT IS MEASURED ALONG HEM. THE SKIRT IS 69.0 CM WIDE WITH THE PLEATS PRESSED CLOSELY TOGETHER. SKIRT IS 287.5 CM WIDE WHEN THE PLEATS ARE FLATTENED. L: 65.0CM W: 287.5CM OVERALL EXCELLENT CONDITION. .5 APRON. HANDMADE. WHITE, EYELET LACE, COTTON, TWO VERTICAL RIBBON STRIPS ON FRONT. THREE PANEL CONSTRUCTION. FLORAL PATTERNED EYELET LACE, WITH MORE FLOWERS TOWARDS THE HEMLINE OF THE APRON. CENTRE PANEL IS SOLID FABRIC AT THE WAISTBAND. SIDE PANELS ARE EYELET LACE. SIDES AND BOTTOM OF APRON HAVE A SCALLOPED CUTOUT LACE EDGING. VERTICAL STRIPS ARE WHITE RIBBON WITH MACHINE EMBROIDERED RED ROSES. WAISTBAND TIES HAVE SAME EYELET LACE AND SCALLOPING. L:53.2CM W: 185.0CM OVERALL VERY GOOD CONDITION. YELLOW STAINING ON FRONT OF APRON BETWEEN THE TWO VERTICAL STRIPES, AS WELL AS ON THE WEARER’S LEFT SIDE, TOWARDS THE HEMLINE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
THE FOLLOWING INFORMATION COMES FROM A VARIETY OF LETHBRIDGE HERALD ARTICLES, AN INTERVIEW WITH THE DONOR, MARIA JOKUTY, CONDUCTED BY KEVIN MACLEAN IN DECEMBER 2015, AND A BOOKLET ENTITLED “REMEMBRANCES OF OUR JOURNEY.” A DESCRIPTION OF MARIA’S EMBROIDERY AND SEWING WORK, THE HISTORY OF THE HUNGARIAN CULTURAL SOCIETY OF SOUTHERN ALBERTA, AND THE JOKUTY’S JOURNEY TO CANADA CAN BE FOUND BELOW THE HISTORY OF THE ARTIFACTS. .1: BLOUSE. MARIA INDICATED THAT THIS ITEM OF CLOTHING IS THE ONLY ONE THAT SHE DIDN'T MAKE HERSELF. SHE DID ADD THE LACE RUFFLE TO THE SLEEVE. .4: OVER SKIRT. MARIA INDICATED IN HER INTERVIEW THAT THE PLEATING ALLOWED THE SKIRT TO FLARE WHEN THE DANCER SPINS: "THE SKIRT, WHEN YOU DANCE WITH THE SKIRT, WHEN YOU SPIN, THE GIRL SPINNING, YOU KNOW, IT’S SO BEAUTIFUL. BECAUSE THIS IS ALSO EVERYTHING HOMEMADE. I MADE IT, OKAY, AND SENT IT TO MONTREAL FOR SPECIAL PRESSING, YOU KNOW, BUT LOOK AT THAT.” MARIA BEGAN WORKING ON THIS OUTFIT (AND 15 OTHER DANCE OUTFITS) IN 1977 AND IT TOOK HER “THREE-FOUR YEARS TO DO IT. YOU KNOW, I DESIGNED THE FLOWERS, AND THEN YOU KNOW THE EMBROIDERY, AND TO PUT IT TOGETHER WAS A VERY HARD JOB.” MAKING THE DANCE COSTUMES WAS IMPORTANT TO MARIA “BECAUSE [SHE] WAS PROUD OF BEING HUNGARIAN AND [SHE] WANTED TO SHOW SOMETHING DIFFERENT.” SHE LEARNED TO EMBROIDER AT THE AGE OF 12/13 FROM A NEIGHBOUR NAMED MARISSA IN HUNGARY. MARIA THINKS THAT MARISSA WAS ABOUT 25/26 YEARS OLD WHEN SHE TAUGHT MARIA HOW TO EMBROIDER. MARIA GETS A GREAT DEAL OF ENJOYMENT SEEING HER CREATIONS ON DANCERS WHILE THEY COMPETE: “VERY IMPORTANT. YOU WOULDN’T BELIEVE ME. YOU PUT ALL ENERGY INTO IT TO BE ABLE TO FINISH IT AND THAT – BECAUSE HAPPINESS WAS WHEN THE GIRLS, THEY WAS DANCING ON A STAGE AND THEY’VE ALL GOT THE COSTUMES. YOU KNOW WHAT, WOW! YOU JUST CAN’T EX – I CAN’T EXPLAIN TO YOU.” MARIA GOT SOME OF HER PATTERNS FOR EMBROIDERY FROM THE EDMONTON HUNGARIAN CULTURAL SOCIETY AND LATER RETURNED TO HUNGARY TO IMPROVE HER SKILLS, AS WELL AS TO LEARN HOW TO DO MACHINE EMBROIDERY. MARIA AND HER HUSBAND, CHESTER, RETURNED TO HUNGARY ABOUT 3 TIMES, STAYING EACH TIME FOR ABOUT 2 MONTHS SO THAT MARIA COULD IMPROVE HER SKILLS. IN ADDITION TO CREATING THE COSTUMES, MARIA ALSO CARED FOR THEM, ENSURING THEY WERE AVAILABLE WHEN A DANCER WOULD NEED TO WEAR THEM: “YES, I WAS IN CHARGE. DRY CLEANING, WASHING, AND EVERYTHING. I DON’T KNOW HOW MANY YEARS, LONG YEARS UNTIL WE MOVED AND THEN WE DIDN’T HAVE NO ROOM, AND THEN SOMEBODY ELSE, YOU KNOW. AND THEN WE HAD A MEETING AND THE DANCERS, THEY WAS LOOKING FOR SOMEBODY ELSE WHO WOULD TAKE CARE OF THEM, ‘CAUSE YOU SHOULD’VE SEEN THE GIRLS THEY WAS LIKE, YOU KNOW, “NO, MRS. JOKUTY, YOU TAKE GOOD CARE!” AND I DID.” ACCORDING TO CHESTER (GEZA) JOKUTY’S OBITUARY, CHESTER AND MARIA WERE MARRIED IN HUNGARY ON OCTOBER 3, 1949. CHESTER SERVED IN THE HUNGARIAN ARMY IN 1940, WAS TAKEN PRISONER BY THE RUSSIANS IN 1945, AND HELD PRISONER IN RUSSIA FOR THREE AND A HALF YEARS. IN THE BOOKLET “REMEMBRANCES OF OUR JOURNEY” MARIA INDICATES THAT CHESTER WAS NOT KEEN TO REMAIN IN HUNGARY FOLLOWING THE HUNGARIAN REVOLUTION, BECAUSE OF HIS TREATMENT AT THE HANDS OF THE RUSSIANS: CHESTER “SPENT THREE AND A HALF YEARS AS A P.O.W. IN ODESSA WHERE PRISONERS WERE USED AS SLAVE LABOUR. CHESTER WAS NOT A BIG MAN AND BECAUSE OF THE CONDITIONS, WAS EXTREMELY WEAK. DURING THIS TIME IF THE PRISONERS WERE NOT ABLE TO KEEP UP OR DO WHAT WAS REQUIRED OF THEM, THE RUSSIAN GUARDS SENT THEIR DOGS IN TO FORCE THE PRISONERS TO MOVE. HE HAD WITNESSED SO MUCH DEATH AND SUFFERING AND HAD SUFFERED SO BADLY IN THE COLD, AT THE HANDS OF THE RUSSIAN SOLDIERS, HE VOWED NEVER TO BE TAKEN BY THEM AGAIN.” MARIA CONTINUED IN THIS BOOKLET TO RECOUNT THEIR DECISION TO LEAVE HUNGARY: “SO, ON NOVEMBER 4TH [1956], WE DECIDED WE WOULD LEAVE … SO WE GATHERED OUR FAMILY AND MY MOTHER AND BEGAN WALKING AS FAST AS POSSIBLE TOWARDS AUSTRIA – ONLY ABOUT AN HOUR’S WALK FROM WHERE WE LIVED.” THE JOKUTY FAMILY REMAINED IN AUSTRIA FOR 6 MONTHS, WHERE MARIA RECALLS BEING WELL TREATED. THEY LEFT AUSTRIA AND ARRIVED IN ST. JOHN, NB AFTER A 12 DAY CROSSING, ON APRIL 22, 1957. AFTER A LONG TRAIN RIDE, THEY ARRIVED IN LETHBRIDGE. SHORTLY AFTER THEIR ARRIVAL THEY BEGAN WORK AS FARM LABOURERS IN THE SUGAR BEET FIELDS. AN ARTICLE PUBLISHED IN THE LETHBRIDGE HERALD ON OCTOBER 29, 1979 HAD THE FOLLOWING TO SAY ABOUT THE HUNGARIAN REVOLUTION: “DESCRIBED SIMPLY, THE REVOLUTION ESTABLISHED A GOVERNMENT THAT TRIED TO MOVE AWAY FROM THE SOVIET UNION’S INFLUENCE. THE SOVIET UNION, SUBSEQUENTLY, SENT ARMED TROOPS INTO HUNGARY TO REASSERT ITS INFLUENCE. IN THE AFTERMATH, MANY PEOPLE FLED, ABOUT 37,000 TO CANADA ACCORDING TO FEDERAL DEPARTMENT OF EMPLOYMENT AND IMMIGRATION STATISTICS … CHESTER JOKUTY OF THE ASSOCIATION SAID ABOUT 2,000 PERSONS OF HUNGARIAN ORIGINS LIVE IN LETHBRIDGE AND THE SURROUNDING AREA.” MARIA INDICATED SEVERAL TIMES THROUGH THE COURSE OF HER INTERVIEW THAT LIFE WAS VERY DIFFICULT FOR THE JOKUTY FAMILY WHEN THEY FIRST ARRIVED IN LETHBRIDGE. THE FAMILY’S FIRST ACCOMMODATIONS LEFT LITTLE TO BE DESIRED: “WE DIDN’T HAVE RUNNING WATER, TOILET, WE HAVE TO PULL THE WATER FROM THINGS, YOU KNOW, AND CHOP THE WOOD TO MAKE BREAKFAST. AND WINTERTIME, WE WAS SCARED TO DEATH THAT KIDS, WE’LL FREEZE TO DEATH. SOMETIMES I HAVE TO STAY UP, OR MY HUSBAND DID TO BE SURE THE WOOD, YOU KNOW THE STOVE IN THE KITCHEN – ONLY THING – THAT GIVE US A LITTLE BIT WARMTH. IT WAS VERY, VERY HARD.” MARIA RECALLS HAVING TO HITCH HIKE TO GET GROCERIES AND RELIED ON THE KINDNESS OF STRANGERS TO GET HOME AGAIN: “AND NO CAR. YOU KNOW WHAT I DID? WE WAS SO HUNGRY, SO I SAID I HAVE TO TAKE A CHANCE. MY HUSBAND WAS WORKING AND KIDS WAS IN MCNALLY SCHOOL AND THEN I WENT ON THE ROAD, PUT MY HAND UP, AND WHATEVER HAPPENED, HAPPENED. SO THEY DROP ME ON 5TH AVENUE SOMEWHERE, OR SAFEWAY, THEY DROP ME OVER THERE, BUT I HEARD THAT LOTS OF HUNGARIAN BACHELORS AND PEOPLE GO TO THE GARDEN HOTEL DRINKING BEER. SO WHEN I WENT OVER THERE, I COULDN’T SPEAK ENGLISH, SO THEN I LISTENED TO THE LANGUAGES WHERE I HEAR THE HUNGARIAN LANGUAGES. SO THEN I HEARD IT, AND I WENT AND I INTRODUCED MYSELF, WHO I AM, AND, “WE ARE ON THE SUGAR BEETS SOWING, WOULD YOU PLEASE HELP US? I NEED A GROCERY, WOULD YOU PLEASE HELP US …?” AND THEY FIND US SOMEBODY WHO WAS DRIVING, AND I DON’T KNOW WHAT THE NAME, WHAT THE NAME WAS, BECAUSE LONG TIME AGO, THEY GOT MY GROCERY IN THE CAR AND TOOK ME TO THE FARM FREE. CAN YOU IMAGINE? I WISH I COULD GIVE HIM A BIG HUG AND THANKFUL.” CHESTER’S OBITUARY INDICATES THAT HE “WAS A VERY PROUD HUNGARIAN AND A FOUNDING LIFETIME MEMBER OF THE HUNGARIAN CULTURAL SOCIETY OF SOUTHERN ALBERTA IN 1977 AND SERVED AS PRESIDENT FOR TEN YEARS. HE ALSO WAS A FOUNDING MEMBER OF THE SOUTHERN ALBERTA ETHNIC ASSOCIATION IN 1977.” IN A HERALD ARTICLE PUBLISHED ON NOVEMBER 14, 1989, MARGARET GUGYELKA (SECRETARY OF THE HUNGARIAN CULTURAL SOCIETY) INDICATED THAT THE SOCIETY STARTED IN 1977: “’THERE WAS AN OLDTIMERS’ GROUP BEFORE THAT, BUT IT WAS MORE LIKE A FRATERNITY … THE SOCIETY WAS STARTED BY A SMALL GROUP OF PEOPLE WHO WANTED TO CARRY ON HUNGARIAN TRADITIONS.’” AN ARTICLE PUBLISHED NOVEMBER 2, 1983 INDICATES THAT THE SOCIETY ALSO PARTICIPATED IN THE WESTERN CANADIAN HUNGARIAN FOLK DANCE FESTIVAL. IN THE ARTICLE, CHESTER SAID THAT THE “FESTIVAL IS NOT A COMPETITION BUT RATHER AN EVENT DESIGNED TO KEEP CULTURAL HERITAGE ALIVE AND DANCE GROUPS IN TOUCH … JOKUTY SAYS HUNGARIAN DANCING HAS PROVEN ‘VERY, VERY POPULAR’ BECAUSE OF THE VARIETY OF DANCES – 46 IN ALL OF AT THE 1982 FESTIVAL HELD IN LETHBRIDGE – AND THE COLOURFUL COSTUMES UNIQUE TO EACH PROVINCE. THE COSTUMES HAVE PROVEN TO BE A BIG EXPENSE FOR THE SOCIETY SINCE ONE OUTFIT CAN COST UP TO $600 TO MAKE. MADE TO MEASURE BOOTS FROM MONTREAL ARE AS MUCH AS $150.” MARIA LAMENTS THAT THE SOCIETY ISN’T WHAT IT USED TO BE. SHE EXPLAINED THAT THERE SIMPLY ISN’T THE VOLUNTEER LABOUR FORCE TO CONTINUE DOING ALL THAT THE SOCIETY USED TO: “WHEN WE USED TO MAKE – EVERY YEAR BEFORE CHRISTMAS WE USED TO MAKE FOUR THOUSAND, FIVE THOUSAND CABBAGE ROLLS AND WE ADVERTISE, WE LET THE PEOPLE KNOW YOU HAVE TO PUT THE NAME AHEAD AND YOU HAVE TO COME PICK. ALL DAY WE WAS WORKING, BUT FIVE O’CLOCK, SIX O’CLOCK PEOPLE CAME AND TAKE [THE CABBAGE ROLLS] BECAUSE WE USED TO HAVE IT IN A BILL KERGAN CENTER, AND OVER THERE IS WALK-IN COOLER.. BUT NOW, THIS YEAR [2015], NO CABBAGE ROLLS AND PEOPLE ARE DISAPPOINTED, BUT WE DON’T HAVE NO VOLUNTEERS. YOU KNOW, GOLDEN YEARS CATCH UP WITH PEOPLE.” SEE PERMANENT RECORD FOR COPIES OF LETHBRIDGE HERALD ARTICLES, THE BOOKLET ENTITLED “REMEMBRANCES OF OUR JOURNEY" AND FOR A TRANSCRIPT OF THE INTERVIEW.
Catalogue Number
P20150038002
Acquisition Date
2015-12
Collection
Museum
Images
Less detail
Date Range From
1977
Date Range To
2000
Material Type
Artifact
Materials
COTTON, SILK, LEATHER
Catalogue Number
P20150038001
  2 images  
Material Type
Artifact
Date Range From
1977
Date Range To
2000
Materials
COTTON, SILK, LEATHER
No. Pieces
8
Length
61.0
Width
87.5
Description
KALOCSA/KALOCSAI STYLE OF HUNGARIAN DRESS. .1: BLOUSE. IVORY COLOURED, SHORT SLEEVED, SLIGHTLY SQUARE NECKLINE, EMBROIDERED, WITH CROCHETED LACE DETAILS. BLOUSE CLOSES WITH FOUR METAL SNAPS AT SHOULDER, TWO SNAPS ON EITHER SIDE OF NECKLINE. SLIGHT A-LINE SHAPE TO BLOUSE. FLOWER SHAPED CROCHETED LACE DETAILING AT CUFFS AND AROUND NECKLINE. EACH OF THE LACE FLOWERS HAS FIVE PETALS ALONG SLEEVE CUFF. CROCHET LACE DETAILING AT NECKLINE IS SMALLER AND FLOWERS ONLY HAVE FOUR PETALS. COLOURFUL FLORAL EMBROIDERY AT FRONT OF NECKLINE AND JUST ABOVE SLEEVE CUFFS. FLOWERS INCLUDE LARGE TWO TONE RED ROSES, TWO TONED PURPLE VIOLETS, AS WELL AS BLUE FLOWERS WITH YELLOW CENTRES, TWO TONED PINK FLOWERS, AND TWO TONED YELLOW FLOWERS. LOTS OF GREEN LEAVES THROUGHOUT. COLOURS INCLUDE MEDIUM AND DARK RED, MEDIUM BLUE, MEDIUM AND DARK GREEN, PINK, ORANGE, YELLOW, AND MEDIUM AND DARK PURPLE. L: 61.0CM W: 87.5CM OVERALL VERY GOOD CONDITION. SLIGHT YELLOWING AROUND NECKLINE AND AT ARMPITS. SEAM HAS LET LOOSE UNDER WEARER’S RIGHT ARM. VERY SMALL DARK BROWN STAIN ON BACK, BELOW WEARER’S RIGHT ARM. .2: UNDER SKIRT. IVORY COLOURED, APPROXIMATELY KNEE LENGTH, WITH MACHINE-MADE LACE DETAILING ALONG HEM. CLOSES AT WAIST WITH TWO VERY LONG IVORY COLOURED TWILL TAPE TIES. GATHERED AT WAIST BAND, CREATING A FULL SKIRT. TWO PIECE SKIRT WITH SEAMS AT FRONT AND BACK. TIES ARE EACH APPROXIMATELY 137.0 CM LONG. L: 60.8CM W: 145.0CM (AT HEM) OVERALL VERY GOOD CONDITION. DARK GREY LINE APPROXIMATELY 21.5 CM DOWN FROM WAISTBAND CIRCLES THE ENTIRE SKIRT. .3: OVER SKIRT. BURGUNDY, HEAVY, SILKY MATERIAL WITH A REPEATING SQUARE PATTERN WOVEN INTO THE FABRIC (PATTERN CONSISTS OF FOUR VERY SMALL SQUARES, WHICH MAKE UP A SLIGHTLY LARGE SQUARE, REPEATED IN A VERTICLE STRIPE). ACCORDION PLEATS MAKE FOR A VERY FULL SKIRT. THERE IS A 9.5 CM STRIP OF MACHINE-MADE, IVORY LACE APPROXIMATELY 18.7 CM UP FROM THE HEM. INSIDE OF SKIRT IS LINED WITH A PINK FLORAL PATTERNED SILKY FABRIC, APPROXIMATELY 18.0 CM UP FROM THE HEM. THIS PINK FLORAL PATTERNED MATERIAL IS ALSO VISIBLE FOR 2.4 CM ON THE OUTSIDE OF THE SKIRT AT THE HEM. SKIRT CLOSES AT WAIST WITH LONG BURGUNDY BIAS TAPE TIES, ONE OF WHICH IS 120.1 CM LONG, THE SECOND IS 135.5 CM LONG. WIDTH OF SKIRT IS MEASURED ALONG HEM. THE SKIRT IS 46.0 CM WIDE WITH THE PLEATS PRESSED CLOSELY TOGETHER. SKIRT IS 203.0 CM WIDE WHEN THE PLEATS ARE FLATTENED. L: 65.5CM W: 203.0CM OVERALL VERY GOOD CONDITION. LACE HAS YELLOWED CONSIDERABLY. .4: VEST. IVORY COLOURED, CROPPED VEST, EMBROIDERED, WITH CROCHETED LACE DETAILS CLOSES AT FRONT WITH 6 SILVER COLOURED METAL SNAPS. FLOWER SHAPED CROCHET LACE DETAILING AROUND THE WHOLE VEST, EXCEPT AT THE CLOSURE, WHERE THERE IS DETAILING ON THE WEARER’S RIGHT SIDE ONLY. EACH OF THE LACE FLOWERS HAS FIVE PETALS. LARGE COLOURFUL FLORAL EMBROIDERY ALL OVER VEST. FLOWERS INCLUDE LARGE TWO TONE RED ROSES, TWO TONED PURPLE VIOLETS, AS WELL AS BLUE FLOWERS WITH YELLOW CENTRES, TWO TONED PINK FLOWERS, AND TWO TONED YELLOW FLOWERS. LOTS OF GREEN LEAVES THROUGHOUT. COLOURS INCLUDE MEDIUM AND DARK RED, MEDIUM BLUE, MEDIUM AND DARK GREEN, PINK, ORANGE, YELLOW, AND MEDIUM AND DARK PURPLE. VEST MAY HAVE BEEN MADE BIGGER AT ONE POINT: THERE IS A STRIP OF WHITER MATERIAL UNDER BOTH ARMS, EACH STRIP IS APPROXIMATELY 3.0CM WIDE, AT THE SIDE SEAMS. L: 47.5CM W: 57.5CM OVERALL EXCELLENT CONDITION. .5: APRON. IVORY COLOURED, EMBROIDERED, WITH CROCHETED LACE AND CUTWORK LACE DETAILING AROUND EDGE. SIDES AND BOTTOM OF APRON HAVE BOTH CUTWORK AND CROCHETED LACE DETAILING. THE CUTWORK LACE DETAILING IS COMPOSED OF TWO DIFFERENT FLOWERS, IN A REPEATING PATTERN. EACH OF THESE LARGE FLOWERS IS APPROXIMATELY 7.0 CM IN DIAMETER. BETWEEN THE LARGE FLOWERS ARE SQUARE SHAPED SECTIONS OF CROCHETED LACE. JUST INSIDE THE LACE DETAILING ARE 10 SECTIONS OF EMBROIDERED FLOWERS, MADE UP OF FIVE PAIRS OF FLOWERS. THE MAIN PORTION OF THE APRON IS ALSO EMBROIDERED, SHOWING FLOWERS INCLUDING TWO-TONED RED ROSES, TWO-TONED PURPLE VIOLETS, BLUE FLOWERS WITH YELLOW CENTRES, TWO-TONED PINK FLOWERS, AND TWO-TONED YELLOW FLOWERS. THERE ARE ALSO GROUPS OF PEPPERS OR POSSIBLY CARROTS (THEY ARE RED AND ORANGE). LOTS OF GREEN LEAVES THROUGHOUT. COLOURS INCLUDE MEDIUM AND DARK RED, MEDIUM BLUE, MEDIUM AND DARK GREEN, PINK, ORANGE, YELLOW, AND MEDIUM AND DARK PURPLE. WAIST TIES EACH HAVE A SMALL SECTION OF EMBROIDERY AND CROCHETED LACE. L: 56.0CM W: 119.5CM OVERALL EXCELLENT CONDITION. .6: CAP. IVORY COLOURED, EMBROIDERED. BRIMLESS. SCALLOPED EDGE ALONG WEARER’S FOREHEAD. GATHERED IN BACK WITH ELASTIC AT THE BASE OF THE NECK. COLOURFUL FLORAL EMBROIDERY ALL OVER CAP. FLOWERS INCLUDE LARGE TWO TONE RED ROSES, TWO TONED PURPLE VIOLETS, AS WELL AS BLUE FLOWERS WITH YELLOW CENTRES, TWO TONED PINK FLOWERS, AND TWO TONED YELLOW FLOWERS. LOTS OF GREEN LEAVES THROUGHOUT. COLOURS INCLUDE MEDIUM AND DARK RED, MEDIUM BLUE, MEDIUM AND DARK GREEN, PINK, ORANGE, YELLOW, AND MEDIUM AND DARK PURPLE. THERE ARE ALSO TWO SECTIONS OF BABY BLUE RIBBON: ONE NEAR THE FRONT OF THE HAT IS LONGER AND THE SECOND SECTION OF RIBBON MAKES A HORSESHOE SHAPE AT THE BACK OF THE HEAD. L: 24.0CM W: 28.2CM OVERALL IN EXCELLENT CONDITION. .7 SHOE. MANUFACTURED. LEFT SHOE. RED CORDUROY, SLIP ON, KITTEN HEEL, EMBROIDERED, MULE-STYLE SHOE, WITH ENCLOSED TOES. RED TOE PORTION OF SHOE HAS A BLUE FLOWER, WITH YELLOW CENTRE, EMBROIDERED. NEXT TO EMBROIDERY IS A WHITE POM-POM. INSOLE OF SHOE IS TAN COLOURED LEATHER, STAMPED AT THE HEEL WITH A GOLD STAMP: “MADE IN HUNGARY SZOMBATHELY.” EMBOSSED ON SOLE OF SHOE “270.” SOLE OF HEEL IS BLACK RUBBER AND SOLE OF TOE PORTION IS LEATHER. H: 7.0CM L: 27.7CM W: 8.7CM OVERALL GOOD CONDITION. SOLE IS WORN AT TOE, ESPECIALLY, WHERE THE LEATHER HAS WORN AWAY. GOLD STAMP ON INSOLE IS ALSO WORN AWAY. .8 SHOE. MANUFACTURED. RIGHT SHOE. RED CORDUROY, SLIP ON, KITTEN HEEL, EMBROIDERED, MULE-STYLE SHOE, WITH ENCLOSED TOES. RED TOE PORTION OF SHOE HAS AN EMBROIDERED BLUE FLOWER, WITH YELLOW CENTRE. NEXT TO EMBROIDERY IS A WHITE POM-POM. INSOLE OF SHOE IS TAN COLOURED LEATHER, STAMPED AT THE HEEL WITH A GOLD STAMP: “MADE IN HUNGARY SZOMBATHELY.” EMBOSSED ON SOLE OF SHOE “270.” SOLE OF HEEL IS BLACK RUBBER AND SOLE OF TOE PORTION IS LEATHER. H: 7.0CM L: 27.7CM W: 8.7CM OVERALL GOOD CONDITION. SOLE IS WORN AT TOE, ESPECIALLY, WHERE THE LEATHER HAS WORN AWAY. GOLD STAMP ON INSOLE IS ALSO WORN AWAY.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
History
THE FOLLOWING INFORMATION COMES FROM A VARIETY OF LETHBRIDGE HERALD ARTICLES, AN INTERVIEW WITH THE DONOR, MARIA JOKUTY, AND A BOOKLET ENTITLED “REMEMBRANCES OF OUR JOURNEY.” A DESCRIPTION OF MARIA’S EMBROIDERY AND SEWING WORK, THE HISTORY OF THE HUNGARIAN CULTURAL SOCIETY OF SOUTHERN ALBERTA, AND THE JOKUTY’S JOURNEY TO CANADA CAN BE FOUND BELOW THE HISTORY OF THE ARTIFACTS. MARIA MADE THIS COSTUME FOR HERSELF AND IS DONE IN THE STYLE OF THE KALOSCAI PROVINCE. IN AN INTERIVEW CONDUCTED BY KEVIN MACLEAN IN DECEMBER 2015, MARIA SAID THAT THIS DRESS WAS BETTER THAN THE OTHERS “BECAUSE THEY DON’T HAVE THIS PART (POINTING TO MACHINE EMBROIDERY).” MARIA WOULD WEAR HER EMBROIDERED DRESS AT SPECIAL EVENTS: “WHEN WE HAD SPECIAL – EVEN WHEN WE HAD HERITAGE DAY – I DRESS UP. CANADA DAY. AND THEN WE USED TO HAVE [CELEBRATIONS] IN THE GALT GARDEN, YOU KNOW, MUSIC, DANCE, BUT I WEAR IT. BUT NOT DANCING OKAY, JUST PUT IT ON. AND MANY, MANY TIMES I DID. AND WE HAD DINNER AND DANCE – I PUT IT ON.” .2 UNDER SKIRT: MARIA SAID THAT THIS UNDER SKIRT GAVE FULLNESS TO THE OUTFIT: "YOU HAVE TO HAVE A FULLNESS. BECAUSE THAT WOULD BE JUST TOO PLAIN. BUT WHEN YOU HAVE THIS SKIRT, IT’S KIND OF FULL, YOU CAN SEE, AND IT’S 100% COTTON, AND THAT GIVES YOU KIND OF MORE FULLNESS AND YOU CAN SEE THE BEAUTY OF THE PLEATED SKIRT." .6 CAP: MARIA SAID ONLY MARRIED WOMEN WOULD WEAR THIS TYPE OF CAP: "SO THE GIRLS WHEN THEY ARE YOUNG, THEY WEARING THIS OUTFIT, OKAY. BUT THEN THE WOMEN, IF THEY GOT MARRIED, THEY HAVE TO WEAR A CAP! SO WHOEVER SEE YOU, 'OH, SHE’S MARRIED.' AND, BUT DON’T YOU THINK SHE’S BEAUTIFUL?” .7 & .8: SHOES: MARIA INDICATED THAT THE SHOES WERE PURCHASED IN HUNGARY AND THAT SHE DID NOT DO THE EMBROIDERY ON THE TOE: "THAT’S HOW WE BOUGHT IN HUNGARY. THEY MADE IT OVER THERE. WE WENT IN HUNGARY WITH MY HUSBAND I DON’T KNOW HOW MANY PAIRS WE BOUGHT TO THE GIRLS. AND THE GIRLS, WHEN THEY WERE DANCING THEY HAVE ALL THE SAME PAIR OF DIFFERENT SIZES." MARIA BEGAN WORKING ON 16 DANCE OUTFITS IN 1977 AND IT TOOK HER “THREE-FOUR YEARS TO DO IT. BECAUSE YOU KNOW, I DESIGNED THE FLOWERS, AND THEN YOU KNOW THE EMBROIDERY, AND TO PUT IT TOGETHER WAS A VERY HARD JOB.” MAKING THE DANCE COSTUMES WAS IMPORTANT TO MARIA “BECAUSE [SHE] WAS PROUD OF BEING HUNGARIAN AND [SHE] WANTED TO SHOW SOMETHING DIFFERENT.” SHE LEARNED TO EMBROIDER AT THE AGE OF 12/13 FROM A NEIGHBOUR NAMED MARISSA IN HUNGARY. MARIA THINKS THAT MARISSA WAS ABOUT 25/26 YEARS OLD WHEN SHE TAUGHT MARIA HOW TO EMBROIDER. MARIA GETS A GREAT DEAL OF ENJOYMENT SEEING HER CREATIONS ON DANCERS WHILE THEY COMPETE: “VERY IMPORTANT. YOU WOULDN’T BELIEVE ME. YOU PUT ALL ENERGY INTO IT TO BE ABLE TO FINISH IT AND THAT – BECAUSE HAPPINESS WAS WHEN THE GIRLS, THEY WAS DANCING ON A STAGE AND THEY’VE ALL GOT THE COSTUMES. YOU KNOW WHAT, WOW! YOU JUST CAN’T EX – I CAN’T EXPLAIN TO YOU.” MARIA GOT SOME OF HER PATTERNS FOR EMBROIDERY FROM THE EDMONTON HUNGARIAN CULTURAL SOCIETY AND LATER RETURNED TO HUNGARY TO IMPROVE HER SKILLS, AS WELL AS TO LEARN HOW TO DO MACHINE EMBROIDERY. MARIA AND, AND HER HUSBAND, CHESTER, RETURNED TO HUNGARY ABOUT 3 TIMES, STAYING EACH TIME FOR ABOUT 2 MONTHS SO THAT MARIA COULD IMPROVE HER SKILLS. IN ADDITION TO CREATING THE COSTUMES, MARIA ALSO CARED FOR THEM, ENSURING THEY WERE AVAILABLE WHEN A DANCER WOULD NEED TO WEAR THEM: “YES, I WAS IN CHARGE. DRY CLEANING, WASHING, AND EVERYTHING. I DON’T KNOW HOW MANY YEARS, LONG YEARS UNTIL WE MOVED AND THEN WE DIDN’T HAVE NO ROOM, AND THEN SOMEBODY ELSE, YOU KNOW. AND THEN WE HAD A MEETING AND THE DANCERS, THEY WAS LOOKING FOR SOMEBODY ELSE WHO WOULD TAKE CARE OF THEM, ‘CAUSE YOU SHOULD’VE SEEN THE GIRLS THEY WAS LIKE, YOU KNOW, “NO, MRS. JOKUTY, YOU TAKE GOOD CARE!” AND I DID.” ACCORDING TO CHESTER (GEZA) JOKUTY’S OBITUARY, CHESTER AND MARIA WERE MARRIED IN HUNGARY ON OCTOBER 3, 1949. CHESTER SERVED IN THE HUNGARIAN ARMY IN 1940, WAS TAKEN PRISONER BY THE RUSSIANS IN 1945, AND HELD PRISONER IN RUSSIA FOR THREE AND A HALF YEARS. IN THE BOOKLET “REMEMBRANCES OF OUR JOURNEY” MARIA INDICATES THAT CHESTER WAS NOT KEEN TO REMAIN IN HUNGARY FOLLOWING THE HUNGARIAN REVOLUTION, BECAUSE OF HIS TREATMENT AT THE HANDS OF THE RUSSIANS: CHESTER “SPENT THREE AND A HALF YEARS AS A P.O.W. IN ODESSA WHERE PRISONERS WERE USED AS SLAVE LABOUR. CHESTER WAS NOT A BIG MAN AND BECAUSE OF THE CONDITIONS, WAS EXTREMELY WEAK. DURING THIS TIME IF THE PRISONERS WERE NOT ABLE TO KEEP UP OR DO WHAT WAS REQUIRED OF THEM, THE RUSSIAN GUARDS SENT THEIR DOGS IN TO FORCE THE PRISONERS TO MOVE. HE HAD WITNESSED SO MUCH DEATH AND SUFFERING AND HAD SUFFERED SO BADLY IN THE COLD, AT THE HANDS OF THE RUSSIAN SOLDIERS, HE VOWED NEVER TO BE TAKEN BY THEM AGAIN.” MARIA CONTINUED IN THIS BOOKLET TO RECOUNT THEIR DECISION TO LEAVE HUNGARY: “SO, ON NOVEMBER 4TH [1956], WE DECIDED WE WOULD LEAVE … SO WE GATHERED OUR FAMILY AND MY MOTHER AND BEGAN WALKING AS FAST AS POSSIBLE TOWARDS AUSTRIA – ONLY ABOUT AN HOUR’S WALK FROM WHERE WE LIVED.” THE JOKUTY FAMILY REMAINED IN AUSTRIA FOR 6 MONTHS, WHERE MARIA RECALLS BEING WELL TREATED. THEY LEFT AUSTRIA AND ARRIVED IN ST. JOHN, NB AFTER A 12 DAY CROSSING, ON APRIL 22, 1957. AFTER A LONG TRAIN RIDE, THEY ARRIVED IN LETHBRIDGE. SHORTLY AFTER THEIR ARRIVAL THEY BEGAN WORK AS FARM LABOURERS IN THE SUGAR BEET FIELDS. AN ARTICLE PUBLISHED IN THE LETHBRIDGE HERALD ON OCTOBER 29, 1979 HAD THE FOLLOWING TO SAY ABOUT THE HUNGARIAN REVOLUTION: “DESCRIBED SIMPLY, THE REVOLUTION ESTABLISHED A GOVERNMENT THAT TRIED TO MOVE AWAY FROM THE SOVIET UNION’S INFLUENCE. THE SOVIET UNION, SUBSEQUENTLY, SENT ARMED TROOPS INTO HUNGARY TO REASSERT ITS INFLUENCE. IN THE AFTERMATH, MANY PEOPLE FLED, ABOUT 37,000 TO CANADA ACCORDING TO FEDERAL DEPARTMENT OF EMPLOYMENT AND IMMIGRATION STATISTICS … CHESTER JOKUTY OF THE ASSOCIATION SAID ABOUT 2,000 PERSONS OF HUNGARIAN ORIGINS LIVE IN LETHBRIDGE AND THE SURROUNDING AREA.” MARIA INDICATED SEVERAL TIMES THROUGH THE COURSE OF HER INTERVIEW THAT LIFE WAS VERY DIFFICULT FOR THE JOKUTY FAMILY WHEN THEY FIRST ARRIVED IN LETHBRIDGE. THE FAMILY’S FIRST ACCOMMODATIONS LEFT LITTLE TO BE DESIRED: “WE DIDN’T HAVE RUNNING WATER, TOILET, WE HAVE TO PULL THE WATER FROM THINGS, YOU KNOW, AND CHOP THE WOOD TO MAKE BREAKFAST. AND WINTERTIME, WE WAS SCARED TO DEATH THAT KIDS, WE’LL FREEZE TO DEATH. SOMETIMES I HAVE TO STAY UP, OR MY HUSBAND DID TO BE SURE THE WOOD, YOU KNOW THE STOVE IN THE KITCHEN – ONLY THING – THAT GIVE US A LITTLE BIT WARMTH. IT WAS VERY, VERY HARD.” MARIA RECALLS HAVING TO HITCH HIKE TO GET GROCERIES AND RELIED ON THE KINDNESS OF STRANGERS TO GET HOME AGAIN: “AND NO CAR. YOU KNOW WHAT I DID? WE WAS SO HUNGRY, SO I SAID I HAVE TO TAKE A CHANCE. MY HUSBAND WAS WORKING AND KIDS WAS IN MCNALLY SCHOOL AND THEN I WENT ON THE ROAD, PUT MY HAND UP, AND WHATEVER HAPPENED, HAPPENED ... THEY DROP ME ON 5TH AVENUE SOMEWHERE, OR SAFEWAY, THEY DROP ME OVER THERE, BUT I HEARD THAT LOTS OF HUNGARIAN BACHELORS AND PEOPLE GO TO THE GARDEN HOTEL DRINKING BEER. SO WHEN I WENT OVER THERE, I COULDN’T SPEAK ENGLISH, SO THEN I LISTENED TO THE LANGUAGES WHERE I HEAR THE HUNGARIAN LANGUAGES. SO THEN I HEARD IT, AND I WENT AND I INTRODUCED MYSELF, WHO I AM, AND, “WE ARE ON THE SUGAR BEETS SOWING, WOULD YOU PLEASE HELP US? I NEED A GROCERY, WOULD YOU PLEASE HELP US …?” AND THEY FIND US SOMEBODY WHO WAS DRIVING, AND I DON’T KNOW WHAT THE NAME, WHAT THE NAME WAS, BECAUSE LONG TIME AGO, THEY GOT MY GROCERY IN THE CAR AND TOOK ME TO THE FARM FREE. CAN YOU IMAGINE? I WISH I COULD GIVE HIM A BIG HUG AND THANKFUL.” CHESTER’S OBITUARY INDICATES THAT HE “WAS A VERY PROUD HUNGARIAN AND A FOUNDING LIFETIME MEMBER OF THE HUNGARIAN CULTURAL SOCIETY OF SOUTHERN ALBERTA IN 1977 AND SERVED AS PRESIDENT FOR TEN YEARS. HE ALSO WAS A FOUNDING MEMBER OF THE SOUTHERN ALBERTA ETHNIC ASSOCIATION IN 1977.” IN A HERALD ARTICLE PUBLISHED ON NOVEMBER 14, 1989, MARGARET GUGYELKA (SECRETARY OF THE HUNGARIAN CULTURAL SOCIETY) INDICATED THAT THE SOCIETY STARTED IN 1977: “’THERE WAS AN OLDTIMERS’ GROUP BEFORE THAT, BUT IT WAS MORE LIKE A FRATERNITY … THE SOCIETY WAS STARTED BY A SMALL GROUP OF PEOPLE WHO WANTED TO CARRY ON HUNGARIAN TRADITIONS.’” AN ARTICLE PUBLISHED NOVEMBER 2, 1983 INDICATES THAT THE SOCIETY ALSO PARTICIPATED IN THE WESTERN CANADIAN HUNGARIAN FOLK DANCE FESTIVAL. IN THE ARTICLE, CHESTER SAID THAT THE “FESTIVAL IS NOT A COMPETITION BUT RATHER AN EVENT DESIGNED TO KEEP CULTURAL HERITAGE ALIVE AND DANCE GROUPS IN TOUCH … JOKUTY SAYS HUNGARIAN DANCING HAS PROVEN ‘VERY, VERY POPULAR’ BECAUSE OF THE VARIETY OF DANCES – 46 IN ALL OF AT THE 1982 FESTIVAL HELD IN LETHBRIDGE – AND THE COLOURFUL COSTUMES UNIQUE TO EACH PROVINCE. THE COSTUMES HAVE PROVEN TO BE A BIG EXPENSE FOR THE SOCIETY SINCE ONE OUTFIT CAN COST UP TO $600 TO MAKE. MADE TO MEASURE BOOTS FROM MONTREAL ARE AS MUCH AS $150.” MARIA LAMENTS THAT THE SOCIETY ISN’T WHAT IT USED TO BE. SHE EXPLAINED THAT THERE SIMPLY ISN’T THE VOLUNTEER LABOUR FORCE TO CONTINUE DOING ALL THAT THE SOCIETY USED TO: “WHEN WE USED TO MAKE – EVERY YEAR BEFORE CHRISTMAS WE USED TO MAKE FOUR THOUSAND, FIVE THOUSAND CABBAGE ROLLS AND WE ADVERTISE, WE LET THE PEOPLE KNOW YOU HAVE TO PUT THE NAME AHEAD AND YOU HAVE TO COME PICK. ALL DAY WE WAS WORKING, BUT FIVE O’CLOCK, SIX O’CLOCK PEOPLE CAME AND TAKE [THE CABBAGE ROLLS] BECAUSE WE USED TO HAVE IT IN A BILL KERGAN CENTER, AND OVER THERE IS WALK-IN COLDER. BUT NOW, THIS YEAR [2015], NO CABBAGE ROLLS AND PEOPLE ARE DISAPPOINTED, BUT WE DON’T HAVE NO VOLUNTEERS. YOU KNOW, GOLDEN YEARS CATCH UP WITH PEOPLE.” SEE PERMANENT RECORD FOR COPIES OF LETHBRIDGE HERALD ARTICLES, THE BOOKLET ENTITLED “REMEMBRANCES OF OUR JOURNEY" AND FOR A TRANSCRIPT OF THE INTERVIEW.
Catalogue Number
P20150038001
Acquisition Date
2015-12
Collection
Museum
Images
Less detail
Other Name
SWEATSHIRT
Material Type
Artifact
Materials
POLYESTER, COTTON
Catalogue Number
P20010110000
  2 images  
Material Type
Artifact
Other Name
SWEATSHIRT
Date
1987
Materials
POLYESTER, COTTON
No. Pieces
1
Height
2.3
Length
70.0
Width
74.5
Description
WHITE SWEATSHIRT WITH RED TEXT ARRANGED IN AN ARC OVER A CARTOON CARICATURE OF SOME SORT PLAYING CURLING. THE TEXT STATES "THE SCOTT TOURNAMENT OF HEARTS" THE CARICATURE IS WEARING A COWBOY HAT THAT HAS THE DATE "1987" ON IT AS WELL AS THE TEXT "LETHBRIDGE".
Subjects
CLOTHING -- OUTERWEAR
Historical Association
COMMEMORATIVE
SPORTS
History
THE DONOR BOUGHT THIS AT THE TOURNAMENT IN 1987 THAT WAS HELD AT THE SPORTSPLEX. DONOR VOLUNTEERED AT THE EVENT SELLING SOUVENIRS. AT THIS TIME SHE WAS ALSO INVOLVED IN CIVIC CURLING. SHE GREW UP IN MANITOBA AND BEGAN CURLING THERE. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A SWEATER DONATED BY DIANNE DIRK. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD AND AN OBITUARY FROM MARTIN BROTHERS FUNERAL HOME. DIANNE DIRK WAS BORN IN BRANDON, MB ON AUGUST 21, 193, THE SECOND CHILD OF LORNE AND MILDRED STORY (MAIDEN NAME UNKNOWN). SHE WAS RAISED IN OAK LAKE, MB AND MOVED TO CALGARY AS A YOUNG WOMAN. THERE SHE MET AND MARRIED JEROME “JERRY” DIRK IN 1965. THE COUPLE MOVED TO LETHBRIDGE IN 1975. ACCORDING TO HER OBITUARY, DIANNE WAS AN ACTIVE HOMEMAKER, ACTIVE IN HER GRANDCHILDREN’S LIVES, AND ALSO ENJOYED CURLING, SQUARE DANCING, CAMPING, AND PLAYING BRIDGE. DIANNE PASSED AWAY AT THE AGE OF 73 ON AUGUST 21, 2001. THE SCOTT TOURNAMENT OF HEARTS TOOK PLACE IN LETHBRIDGE FROM SATURDAY FEBRUARY 28 TO SATURDAY MARCH 7, 1987. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD AND AN OBITUARY FROM MARTIN BROTHERS FUNERAL HOME.
Catalogue Number
P20010110000
Acquisition Date
2002-03
Collection
Museum
Images
Less detail
Other Name
HIGHLAND COSTUME SET
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOL, COTTON, LEATHER
Catalogue Number
P19705629000
  2 images  
Material Type
Artifact
Other Name
HIGHLAND COSTUME SET
Date Range From
1900
Date Range To
1910
Materials
WOOL, COTTON, LEATHER
No. Pieces
14
Description
.1 SCOTTISH CAPE OR PLAID. 10 CM. WTH., 26.6 CM LTH. GREEN, RED PLAID. FRINGED. .2 SCOTTISH KILT (SET). WOOL, COTTON. SIZE: 35 WAIST, 24 3/8 LENGTH. "J. STEWART" IN INDELIBLE INK IN WAISTBAND. SIX BUTTONS AT WAIST. LEATHER STRAP, FRONT CLOSING. GREEN AND RED PLAID. PARTIALLY LINED IN BACK WITH COTTON. .3 SCOTTISH MILITARY JACKET. WOOL, STEEL, COTTON. 3 PIECES. SIZE: 42 EIGHT STEEL BUTTON FRONT, THISTLE EMBOSSED ON FRONT. FOUR SETS OF DOUBLE FLAPS AT WAISTLINE WITH THREE BUTTONS ON EACH. GREEN EPAULETS (DETACHABLE) ATTACHED TO JACKET THROUGH SHOULDER TABS. BEIGE, GREEN AND BLUE PLAID WOOL LINING. SLEEVES LINED IN COTTON. .4 SCOTTISH SPORRAN (SET).15.2 CM WTH., 45.7 CM LTH. HORSE HAIR, LEATHER, STEEL. 2 PIECES. WHITE HORSE HAIR. BACKGROUND TWELVE BLACK HORSE HAIR TASSELS. BROWN LEATHER BACKING HAS POCKET. C/W BROWN LEATHER BELT. STEEL TOP EMBOSSED WITH THISTLE .5 "CAIRNGORM" OR CAPE PIN. 9.5 CM DIA. STEEL, AMBER STONE. AMBER COLOURED STONE, SET IN STEEL BACKGROUND WITH TASSELS EMBOSSED ON IT. PLEASE REFERENCE HISTORY FIELD FOR MORE INFORMATION ON CAIRNGORM'S CONDITION . .6 SCOTTISH LEGGINGS. 17 CM WTH., 34 CM LTH. HAND KNIT. TWEED AND ARGYLE PATTERN IN RED, GREEN AND NAVY. .7 IDENTICAL TO .6 .8 SCOTTISH OVERGAITERS. 27.6 CM HT. LEATHER, CANVAS, COTTON, PLASTIC. WHITE CANVAS GAITERS WITH WHITE COTTON LINING, LEATHER FOOT STRAPS. EIGHT BUTTON SIDE OPENINGS. FOUR ORIGINAL BUTTONS, TWO REPLACEMENTS. "JS" IN PURPLE FELT PEN INSIDE EACH. "7" "6 DUNN (?)" ON PT. 9. .9 IDENTICAL TO .8. HAS THREE ORIGINAL BUTTONS, ONE REPLACEMENT. .10 SCOTTISH GARTERS (SET). 15.8 CM WTH., 15.2 CM LTH. HANDMADE. DECORATION OF RED WOOL RIBBON GARTER OF INNER TUBE. .11 IDENTICAL TO .10
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
LEISURE
History
WORN BY JAMES STEWART, MEMBER OF THE CALEDONIAN PIPE BAND. AS A RESULT OF RESEARCH DONE IN CONJUNCTION WITH A SCOTTISH-THEMED EXHIBIT IN 2009, THE GALT CONDUCTED NEW RESEARCH INTO THE EXISTENCE AND ACTIVITIES OF THE CALEDONIAN PIPE BAND. THIS UNIFORM WAS WORN BY CALEDONIAN PIPE BAND MEMBER JAMES STEWART WHO LEFT SCOTLAND AND CAME TO CANADA WITH HIS WIFE GEORGINA AND FAMILY IN 1914. THE FAMILY SETTLED IN LETHBRIDGE IN APRIL 1914, WHERE THEY WOULD REMAIN FOR THE REST OF THEIR LIVES. STEWART WAS BORN IN EDINBURGH, SCOTLAND ON 23 JANUARY 1887. HE JOINED LETHBRIDGE'S 61ST OVERSEAS ARTILLERY BATTERY IN 1916 AND WAS PREVIOUSLY EMPLOYED IN LETHBRIDGE AS A MINER. FORMED IN APPROXIMATELY 1909, THE BAND WAS CLOSELY LINKED WITH LETHBRIDGE’S CALEDONIAN SOCIAL CLUB. IN ADDITION TO PROVIDING MUSICAL ENTERTAINMENT IN LOCAL HALLS OR AT SOMBER FUNERARY EVENTS, THE BAND TRAVELED THROUGHOUT SOUTHERN ALBERTA AND MONTANA TO PARTICIPATE IN OTHER COMMUNITIES’ COMPETITIONS AND ROBBIE BURNS’ EVENTS. THE BAND WAS EXTREMELY ACTIVE IN THE 20S, HOWEVER, INTEREST WANED BY THE DECADE’S END AND THE BAND IS SUSPECTED TO HAVE DISBANDED BY 1933. BASED ON THE UNIFORM’S SHOULDER DETAILS AND AVAILABLE PHOTOGRAPHS IN ARCHIVES, IT IS BELIEVED THAT THIS UNIFORM DATES TO THE 1920S. FOR MORE INFORMATION ON JAMES STEWART, PLEASE REFER TO THE DONATION'S PERMANENT FILE. CAIRNGORM DISCOVERED TO BE IN MULTIPLE PIECES, DAMAGED CONDITION BY COLLECTIONS STAFF IN THE MID 1990'S. UNKNOWN WHEN THE DAMAGE OCCURRED. ONE SECTION OF SETTING WAS MISSING AND ONE SECTION OF SETTING AND JEWEL WERE ACCOUNTED FOR BUT DETACHED (SEE PHOTOS IN PERMANENT FILE ). IN DECEMBER/JANUARY, 2010 THE GALT CONTACTED DAVE MERESKI OF THE LOCAL BUSINESS 'THE GOLDWORKS' TO REPAIR THE SETTING ON ACCOUNT OF A REQUEST BY ROY STEWART - A DESCENDANT OF JAMES STEWART. ADDITIONALLY, THE UNIFORM SET WAS ON REGULAR DISPLAY THROUGHOUT IN 2009 AND WAS SCHEDULED FOR EXHIBIT IN 2010. DAVE MERESKI RE-BUILT THE MISSING SECTION WITH SPECIALTY LASER EQUIPMENT, RETURNING THE JEWEL TO ITS ORIGINAL MOUNT.
Catalogue Number
P19705629000
Acquisition Date
1970-05
Collection
Museum
Images
Less detail
Other Name
MILITARY 16 CANADIAN HIGHLANDERS
Date Range From
1917
Date Range To
1919
Material Type
Artifact
Materials
WOOL, BRASS, COTTON
Catalogue Number
P19860153000
  2 images  
Material Type
Artifact
Other Name
MILITARY 16 CANADIAN HIGHLANDERS
Date Range From
1917
Date Range To
1919
Materials
WOOL, BRASS, COTTON
No. Pieces
6
Description
.1 JACKET. 70 CM (LTH) X 42 CM (ACROSS SHOULDERS) WOOL, BRASS, COTTON. OLIVE DRAB OR KHAKI LABEL/INSIDE LINING "S.D. JACK...SIZE NO...HEIGHT... 5 BREAST 36 WAIST..." IN INK "125 WAB?" 10 BRASS BUTTON TOTAL WITH "16 CANADIAN SCOTTISH" AND COAT OF ARMS "DEAS GU CATH". COLLAR TABS BRASS ("C BAR 16") EPAULETS BRASS "CANADIAN SCOTTISH" 4 COLLAR HOOKS. BRAIDED COTTON LEFT SHOULDER. 2 CHEVRONS UPPER LEFT & RIGHT SLEEVE. THREE REVERSED CHEVRONS LOWER RIGHT SLEEVE. 4 POCKETS C/W BUTTON FLAPS. TWO BRASS BELT LOOPS AT WAIST. .2 KILT 60 CM (LTH) X 140 CM (UNFOLDED AT WAIST) WOOL, LEATHER, COTTON. BLUE, GREEN, RED, WHITE TARTAN. INKED INSIDE WAISTBAND "1278" OR "12Y8" "736662" "16TH CAN. SCOTTISH 1917" MACKENZIE TARTAN KILT. 2 LEATHER BELTS AND BUCKLES NICKEL PLATED CLASP PIN PITTED AND RUSTED. .3 BELT 119 CM LTH X 4.3 CM WTH LEATHER, BRASS BROWN STAMPED "SERVICE FULL GRAIN BRIDLE LEATHER". DOUBLE HOOK BRASS BUCKLE AND LEATHER RING SEVEN HOLES. .4 CAP 57.2 CM (INCLUDES FLASHES) X 11.7 (WTH) WOOL COTTON ALUMINUM. NAVY BLUE, RED, BLACK CAP OR GLENCARY HAS COAT OF ARMS BADGE ON LEFT SIDE, FASTENED TO CAP WITH BRASS COTTER PIN "DEAS GU CATH" RED WOOL BUTTON ON TOP OF CAP. TWO BLACK TABS OR FLASHES FROM BACK OF CAP, HANG OVER NECK. .5 GARTERS 15.8 CM LTH X 4.5 CM WTH WOOL, COTTON 2 PCES RED WITH WHITE ELASTICISED STRAP GARTERS OR FLASHES ARE STITCHED TO FORM TWO LOOPS AND TWO TAB ENDS WITH FRINGE. ELASTICISED STRAPS SEWN ON.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
MILITARY
History
THIS MILITARY MEMORABILIA IS ASSOCIATED WITH FIRST WORLD WAR, SCOTTISH-BORN VETERAN GLEN R. GALL. IN 1916, GALL, A CALGARY RESIDENT, WANTED TO SERVE WITH ONE OF THE CANADIAN EXPEDITIONARY FORCE’S (CEF) SCOTTISH INFANTRY BATTALIONS AND, CONSEQUENTLY, JOINED THE 113TH LETHBRIDGE HIGHLANDERS. UPON DISEMBARKING IN ENGLAND IN 1916, THE 113TH WAS DISBANDED AND GALL WAS TRANSFERRED TO THE CEF’S 16TH SCOTTISH REGIMENT. GALL SURVIVED THE WAR, RETURNING TO CALGARY IN 1919. PLEASE SEE OTHER DONATIONS BY DR. PETER ALLEN AND ROBINA GUINN TO REFERENCE OTHER ARTIFACTS RELATED TO GLEN GALL’S FIRST WORLD WAR SERVICE. . SEE ALSO HARCOPY FILE. THE MCKENZIE TARTAN IS HISTORICALLY ASSOCIATED WITH SCOTLAND. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVERY OF MILITARY OBJECTS. SHE FOUND AN ENTRY IN THE GELNBOW ARCHIVES FOR FONDS DONATED BY GLEN R. GALL, WITH A BRIEF BIOGRAPHY THAT CONTAINS INFORMATION NOT PREVIOUSLY REFERENCE IN GALT PERMANENT FILES: GLEN RAMSAY GALL WAS BORN IN 1898 IN EDINBURGH, SCOTLAND, AND MOVED WITH HIS FAMILY TO CALGARY AROUND 1912. HE SERVED IN THE 50TH BATTALION CEF DURING WWI. GALL LATER SETTELD IN SAN ANSELMO, CALIFORNIA, AND PASSED AWAY IN 1996. THE FOLLOWING BRIEF HISTORY OF THE LETHBRIDGE HIGHLANDERS IS EXCERPTED FROM CHRISTOPHER R. KILFORD'S BOOK 'LETHBRIDGE AT WAR: THE MILITARY HISTORY OF LETHBRIDGE FROM 1990 TO 1996' (BATTERY BOOKS & PUBLISHING, 1996). "THE 113TH CANADIAN EXPEDITIONARY FORCE, THE LETHBRIDGE HIGHLANDERS, WERE ORGANIZED DECEMBER 22, 1915 [AS] PART OF A CANADIAN RECRUITING DRIVE WHERE MEN FROM THE SAME REGION COULD ENLIST AND SERVE TOGETHER. THIS TYPE OF COMMUNITY SPIRIT RECRUITING WAS VERY POPULAR AS IT DREW IN FRIENDS, NEIGHBOURS, CO-WORKERS, ETC. WITH THE PROMIS OF SERVING TOGETHER THROUGHOUT THE WAR. THE 113TH CONSISTED OF 883 MEN AND OFFICERS AND HAD ITS BARRACKS AT THE EXHIBITION GROUNDS IN LETHBRIDGE... BASIC TRAINING IN THE CEF INVOLVED RIFLE TRAINING, BOMBING OR HAND GRENADE PRACTICE, ROUTE MARCHES, RIFLE DRILL AND MANY INSPECTIONS... IN LATE MAY 1916 THE BATTALION MOVED TO SARCEE CAMP OUTSIDE CALGARY FOR FURTHER TRAINING THAT LASTED UNTIL SPETEMBER... ON SEPTEMBER 26TH 1916 THE 113TH EMBARKED ALONG WITH THE 111TH AND 145TH BATTALIONS ON THE SS TUSCANIA... UPON ARRIVING IN ENGLAND THE BATTALION WAS TAKEN TO A HOLDING CAMP AT SANDLING NEAR SHORNCLIFFE... THE COMMANDING OFFICER LEARNED THAT THE 113TH WOULD BE BROKEN UP FOR REPLACEMENTS AND WOULD NOT SEE ACTION AS A UNIT AFTER ALL... THE 113TH WAS TRANSFERRED TO THE 17TH RESERVE BATTALION CEF, THE NOVA SCOTIA HIGHLANDERS, AFFILIATED WITH THE SCOTTISH SEAFORTH HIGHLANDERS... ON OCTOBER 12, 1916 MOST OF THE OLD 113TH PROCEEDED TO FRANCE... ALMOST IMMEDIATELY 300 MEN OF THE OLD 113TH WERE ASSIGNED AS REPLACEMENTS TO ONE OF THE MOST FAMOUS BATTALIONS IN THE CEF, THE 16TH BATTALION CANADIAN SCOTTISH." SEE GALT ARCHIVES 19861100001-12 FOR PHOTOGRAPHS TAKEN BY GALL DURING HIS SERVICE WITH THE LETHBRIDGE HIGHLANDERS. SEE PERMANENT FILE P199700810001 FOR HARDCOPIES OF GLENBOW ARCHIVES FONDS DESCRIPTION AND LETHBRIDGE HIGHLANDERS HISTORY.
Catalogue Number
P19860153000
Acquisition Date
1986-10
Collection
Museum
Images
Less detail
Other Name
BEADED BUCKSKIN JACKET
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
LEATHER, COTTON
Catalogue Number
P19980074001
  1 image  
Material Type
Artifact
Other Name
BEADED BUCKSKIN JACKET
Date Range From
1960
Date Range To
1970
Materials
LEATHER, COTTON
No. Pieces
1
Length
72.3
Width
46.3
Description
LIGHT TAN-COLORED BUCKSKIN LEATHER JACKET. ZIPPERED FRONT. TWO FRONT WAIST POCKETS, EACH WITH BLUE, ORANGE, AND GREEN BEADED FLOWER. LEATHER FRINGE ACROSS BOTH SIDES OF CHEST, WITH SAME BEADED FLOWER ON EACH BREAST. BROWN LEATHER PATCHES ON ELBOWS; RED PLASTIC BUTTON ON CUFFS. BEADED FLORAL PATTERN WITH THREE ORANGE AND BLUE FLOWERS, LINKED BY GREEN LEAVES, ON BACK SHOULDER AREA; LEATHER FRINGE ACROSS BACK JUST BELOW. JACKET IS UNLINED. PATCHES SEWN UNDER BOTH ARMS; NUMEROUS HOLES IN LEATHER THROUGHOUT; ALSO SMALL BROWN STAIN ON FRONT OF JACKET. SLEEVE CUFFS LINED WITH WORN GREEN COTTON.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
DONOR ACQUIRED COLLECTION AFTER PASSING OF HIS UNCLE, CLINTON BROWN. BROWN HAD LEASE LAND ON THE BLOOD RESERVE. SOME MEMBERS OF RESERVE, INCLUDING STANDING ALONE FAMILY (PETE, ALFRED) THROUGH WORK ON LAND. PIECES WERE MADE ESPECIALLY FOR BROWN. ITEMS REMAINED IN STORAGE AFTER ACQUIRED BY DONOR.
Catalogue Number
P19980074001
Acquisition Date
1998-12
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN SHIRT (WOMEN'S)
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
LINEN
Catalogue Number
P19770058000
  2 images  
Material Type
Artifact
Other Name
UKRAINIAN SHIRT (WOMEN'S)
Date Range From
1970
Date Range To
1980
Materials
LINEN
No. Pieces
1
Length
122.0
Width
64.8
Description
WHITE, SIZE LARGE. WHITE LINEN MATERIAL WITH EMBROIDERED (PURPLE, BLUE, BLACK, YELLOW, BURGUNDY, GREEN) ARMS AND BODICE. NECKLINE IS BLANKET STITCHED. ATTACHED PIECE ON BOTTOM OPEN PIECE WOVEN ON LOOM. FLORAL PATTERN DESIGNED LACE CUFFS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE DONORS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THERE IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. SEE PERMANENT FILE FOR HANDWRITTEN NOTE ON THE BIOGRAPHY OF THE DONORS.
Catalogue Number
P19770058000
Acquisition Date
1976-10
Collection
Museum
Images
Less detail
Other Name
CHILD'S (UKRAINIAN)
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19738273000
  1 image  
Material Type
Artifact
Other Name
CHILD'S (UKRAINIAN)
Date Range From
1910
Date Range To
1920
Materials
COTTON
No. Pieces
1
Length
54.5
Description
SIZE 8. TRADITIONAL UKRAINIAN GEOMETRIC CROSS-STITCH PATTERN IN GREEN, YELLOW, PINK, BLACK, BLUE, RED. TEAR IN BACK, ALONG COLLAR SEAM, AND FRONT HEM. LOOSE BUTTON ON RIGHT CUFF. HANDMADE. SQUARE COLLAR WITH EMBROIDERY ON IT, FORMS INTO A SMALL CAPE ON BACK OF SHOULDERS.
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
P19738273000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN SHIRT (MAN'S)
Date Range From
1970
Date Range To
1976
Material Type
Artifact
Materials
LINEN, EMBROIDERY
Catalogue Number
P19770057000
  1 image  
Material Type
Artifact
Other Name
UKRAINIAN SHIRT (MAN'S)
Date Range From
1970
Date Range To
1976
Materials
LINEN, EMBROIDERY
No. Pieces
2
Description
SIZE 42 MEDIUM. BLACK, RED, ORANGE, GREEN, YELLOW ON WHITE. CROSS STITCHED AROUND NECK, DOWN FRONT & CUFFS. NECK FASTENS WITH BUTTONS HIDDEN UNDER FLAP SEWN BENEATH FRONT EMBROIDERY. 2 SMALL LOOPS ON NECK PIECE, WHICH HAS A CORD RUNNING THROUGH BOTH ENABLING IT TO BE TIED. TASSEL ATTACHED TO CORD, BLACK, RED, GREEN, ORANGE. EMBROIDERY THREAD - BLACK, RED, GREEN, YELLOW. MIDDLE BUTTON ON NECK IS MISSING.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE DONORS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THERE IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. SEE PERMANENT FILE FOR HANDWRITTEN NOTE ON THE BIOGRAPHY OF THE DONORS.
Catalogue Number
P19770057000
Acquisition Date
1976-10
Collection
Museum
Images
Less detail
Other Name
MAN'S ETHNIC COSTUME
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
LINEN, COTTON
Catalogue Number
P19738285000
  1 image  
Material Type
Artifact
Other Name
MAN'S ETHNIC COSTUME
Date Range From
1900
Date Range To
1910
Materials
LINEN, COTTON
No. Pieces
1
Length
109.0
Description
SIZE 44 TALL. YELLOW EMBROIDERED HEM. CROSS-STITCHED HIGH COLLAR, FRONT PIECE. CUFFS. COLOURS: RED, YELLOW, BLUE, BLACK, BROWN, WHITE BACKGROUND. CUFFS AND NECK FASTEN WITH SNAPS. HAND SEWN. 2 SMALL HOLES IN FRONT, 1 IN BACK NEAR HEM.
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
P19738285000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail

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