Skip header and navigation

7 records – page 1 of 1.

Other Name
COAT
Date Range From
1930
Date Range To
1960
Material Type
Artifact
Materials
DENIM, CANVAS, STEEL
Catalogue Number
P19940008000
Material Type
Artifact
Other Name
COAT
Date Range From
1930
Date Range To
1960
Materials
DENIM, CANVAS, STEEL
No. Pieces
1
Length
67.8
Width
53
Description
BLACK DENIM JACKET HAS POLO COLLAR AND A FLAP POCKET ON EACH SIDE OF THE CHEST. ABOVE THE LEFT POCKET IS A WHITE, YELLOW, RED AND GREEN OVAL BADGE THAT READS "6 LETHBRIDGE DRY GINGER ALE". HAVE ELBOW PATCHES ON SLEEVES THAT EXTEND TO WRISTS. CUFFS HAVE LEATHER TRIM AND FASTEN WITH BUTTON AND HOLE. EACH SLEEVE HAS TWO BLACK BUTTONS. IS SHORT WAISTED JACKET WITH A THICK HEM AROUND THE BOTTOM. FASTENS UP MIDDLE WITH STEEL ZIPPER THAT READS "LIGHTENING" AND "LF" EACH IN TWO PLACES. HAS A KNIFE PLEAT ALONG BOTH SIDES SEAMS IN BACK ALONG WAIST ON EACH SIDE IS TAB THAT FASTENS AT ONE END TO A BUTTON WHICH IS ADJUSTABLE TO ANOTHER BUTTON. INSIDE WAIST ARE TWO TAGS. ONE READS "LETHBRIDGE U198 A WILLIS SEPT 18, 59" ALONG SIDE IS "SPECIAL ORDER 32451". ON BOTTOM IS LOGO. OTHER TAG READS IN BLUE AND GOLD "TIP TOP CLOTHES GOLDEN JUBILEE". INSIDE LINING AROUND EDGES. LINING IS WEARING AND FRAYING. IS MISSING LEFT POCKET BUTTON. EDGES OF ELBOW PATCHES ARE FRAYING. LEATHER TRIM ON WRISTS IS CRACKING. MINOR SOILING ON LEFT SHOULDER.
Subjects
CLOTHING-OUTERWEAR
Historical Association
RETAIL TRADE
History
USED PRIOR TO 1960 WHEN POP SHOP WAS OPEN. WORN BY DONOR'S FATHER, ALBERT WILLIS, WHO WORKED IN THE POP SHOP AND RETIRED IN 1977. PART OF THE UNIFORM FOR BREWERY WORKERS THAT DELIVERED POP IN THE CITY. THE UNIFORMS WERE CUSTOM MADE FOR THE DRIVERS BY LEO SINGER. FOR MORE INFORMATION ON THE BREWERY’S PRODUCTION OF SOFT DRINKS, SEE RECORD P19900020003-GA.
Catalogue Number
P19940008000
Acquisition Date
1994-02
Collection
Museum
Less detail
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19990061009
  1 image  
Material Type
Artifact
Date Range From
1980
Date Range To
1999
Materials
COTTON
No. Pieces
1
Height
0.5
Length
80.5
Width
105.0
Description
NAVY BLUE, COTTON T-SHIRT. IN SILKSCREEN, ON FRONT OF SHIRT, IS "EATON'S" IN BEIGE. BELOW THIS IS A LOWER CASE LETTER "E" INSIDE A CIRCLE, IN LIGHT BLUE. TO THE BOTTOM, RIGHT OF THIS IS "TM" IS LIGHT BLUE. WHITE TAG ON INSIDE, COLLAR READS "HANES" IN RED, AND "BEEFY-T" IN WHITE ON A BLUE BACKGROUND. BELOW THIS READS "ADULT XL (46-48)". THERE IS ANOTHER WHITE TAG BELOW THIS THAT GIVES INFO. ON SHIRT, AND CARE INSTRUCTIONS IN FRENCH AND ENGLISH.
Subjects
CLOTHING-OUTERWEAR
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061009
Acquisition Date
1999-10
Collection
Museum
Images
Less detail
Date Range From
1997
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19990061010
  1 image  
Material Type
Artifact
Date Range From
1997
Materials
COTTON
No. Pieces
1
Height
0.3
Length
80.0
Width
103.5
Description
WHITE, COTTON. IN SILKSCREEN ON FRONT OF SHIRT, IS A RED RECTANGLE. EACH CORNER OF RECTANGLE HAS A BLACK SQUARE WITH A RED HEART IN IT. WITHIN THE RECTANGLE READS "EATON'S ONE SWEET SALE SCRATCH & SAVE UP TO 50% OFF", IN WHITE. ON EITHER SIDE OF THE WORD "SALE" IS THE IMAGE OF BETTY BOOP. ON INSIDE OF COLLAR IS A WHITE TAG THAT IS EMBROIDERED WITH "GILDAN HEAVY WEIGHT PRE-SHRUNK 100% COTTON/COTON U.S.A. COMPONENTS ASSEMBLED IN MEXICO XL/TG". UNDERSIDE OF THIS LABEL GIVES CARE INSTRUCTIONS IN ENGLISH AND FRENCH. T-SHIRT HAS NOT BEEN WORN.
Subjects
CLOTHING-OUTERWEAR
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061010
Acquisition Date
1999-10
Collection
Museum
Images
Less detail
Other Name
UNIFORM DRESS
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19950073180
  2 images  
Material Type
Artifact
Other Name
UNIFORM DRESS
Date Range From
1960
Date Range To
1970
Materials
COTTON
No. Pieces
1
Length
89
Width
71
Description
WHITE COTTON CHEMISE-STYLE UNIFORM DRESS. SHORT SLEEVES WITH UPTURNED CUFFS. COLLAR, WITH TWO PEARL BUTTONS AT NECKLINE. FRONT TUCKS DOWN LENGTH OF FRONT TO HEMLINE. TWO LARGE POCKETS ON SKIRT FRONT. ZIPPER AT BACK. TAG INSIDE NECKLINE WITH "LACROSS PROFESSIONAL UNIFORMS SANFORIZED PLUS WASH AND WEAR". HEM HAS BEEN TAKEN UP SLIGHTLY.
Subjects
CLOTHING-OUTERWEAR
Historical Association
RETAIL TRADE
History
BELONGED TO DONOR'S MOTHER. MANY NEW IMMIGRANTS FOUND EMPLOYMENT IN THE SERVICE SECTOR, INCLUDING RESTAURANTS, CONVENIENCE STORES, AND LAUNDRIES. THIS UNIFORM BELONGED TO MYRA ING, THE DONOR’S MOTHER. THE FAMILY OWNED AND OPERATED SEVERAL GROCETERIAS AND RESTAURANTS IN THE CITY BETWEEN THE 1950'S AND THE 1980'S. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED AS PART OF THE ING ESTATE (P19950073023). SHE EXTRACTED THE FOLLOWING INFORMATION ON THE ING FAMILY FROM PERMANENT FILE P19950073001, WHICH CONTAINS A TRANSCRIPT OF THE INTERVIEW COLLECTIONS TECH KEVIN MACLEAN CONDUCTED WITH HAROLD ING JR., SON OF HAROLD AND MYRA, IN HIS ROOM AT THE LETHBRIDGE HOTEL IN SEPTEMBER 2005. MYRA WAS BORN IN GOLDEN B.C. TO SHIN-BOW AND CHOW TING RAH; HER FATHER ORGINALLY EMIGRATED TO CANADA TO WORK ON CANADIAN RAILWAY CONSTRUCTION AND LATER BECAME A RESTAURANTEUR, WHERE MYRA DEVELOPED HER ENGLISH SKILLS AS A WAITRESS. "IN 1906 MY DAD [HAROLD ING SR.] LEFT HONG KONG FOR VANCOUVER, HE COULDN'T SPEAK ENGLISH... HE'S GOT TO BE A WAITER, A BUSBOY... AND HE LEARNED ALL THE WAY UP, IN THE MEANTIME PICKING UP ENGLISH... WENT TO WINNIPEG. THIS IS BEFORE ME. BY THEN HE KNEW THE WHOLE SYSTEM OF RESTAURANTING." MYRA AND HAROLD SR. MARRIED AND ADOPTED HAROLD JR. WHEN HE WAS BORN INTO A POOR FAMILY OF ELEVEN IN 1944, IN VANCOUVER. "ME AND MY TWIN SISTER WERE SOLD BECAUSE THERE WERE JUST TOO MANY. SO DAD, MY MOM PICKED ME AND DAD SAID YES THAT'S GOOD... I DON'T KNOW WHERE MY SISTER IS... THERE'S NO WAY OF FINDING OUT." THE ING FAMILY SETTLED IN LETHBRIDGE IN THE LATE 1940S, AND HAROLD SR. OWNS AND OPERATES THE NEW MOON CAFE AND TWO GROCERIES, WHICH ARE RUN BY THE FAMILY AND NEW CHINESE IMMIGRANTS THAT HAROLD SR. SPONSORED. "AT APPROXIMATELY FIVE YEARS OLD [MY FATHER] INTRODUCED ME TO THE NEW MOON CAFE, AND I WAS A BUSBOY AT THE AGE OF FIVE... IN 1951 HE SHOWED ME MY FIRST HUNDRED DOLLAR BILL... BECAUSE HE WAS THE OWNER... HE'D WAKE UP AT FIVE IN THE MORNING TO GO TO THE CAFE, OFF AND ON TO THE GROCERY STORE AND MIGHT BE DONE AT EIGHT AT NIGHT, SUPPER AND IMMEDIATELY TO CHINATOWN [FOR] GAMBLING, PUTTING DOWN MAH JONG." HAROLD JR. ATTENDED WESTMINISTER ELEMENTARY SCHOOL DURING THE DAY, AND CHINESE SCHOOL AT THE CHINESE NATIONAL LEAGUE IN THE EVENINGS - HIS FATHER WAS THE PRESIDENT OF THE NATIONAL LEAGUE, AND THE ORGANIZATION RAN THE SCHOOL, CULTURAL CELEBRATIONS, FILM SCREENINGS, AND BANQUETS, FUNDED BY MEMBERSHIP FEES. HAROLD'S YOUNGER BROTHER, CALVIN, "GOT SENT TO A BOARDING SCHOOL SOMEWHERE. HE WAS GIFTED, BUT HE HAD A BYPASS SURGERY, HE HAD SOMETHING WRONG WITH HIS HEART. HE COULDN'T HANDLE PUBLIC SCHOOL, SO THEY SENT HIM TO B.C." AFTER HIGH SCHOOL AND A BRIEF STINT IN CALGARY, HAROLD JR. RAN ING'S GROCERY FOR HIS FATHER, AND IN THE LATE 1960S AND EARLY 70S ALSO WORKED AS A PHOTOGRAPHER FOR THE LETHBRIDGE HERALD AND A SALESMAN AT SEARS. BOTH HAROLD SR. AND MYRA ING PASSED AWAY IN THE 1990S, AND THE OBJECTS ENCOMPASSING DONATION P19950073001-231 WERE COLLECTED FROM THE FAMILY HOME. FOR A COMPLETE TRANSCRIPT OF THE INTERVIEW, COPIES OF PHOTOGRAPHS AND WRITTEN DETAILS ON THE CHINESE NATIONAL LEAGUE, SEE PERMANENT FILE.
Catalogue Number
P19950073180
Acquisition Date
1995-11
Collection
Museum
Images
Less detail
Other Name
UNION DAIRY
Material Type
Artifact
Materials
COTTON, STEEL
Catalogue Number
P19920002000
  2 images  
Material Type
Artifact
Other Name
UNION DAIRY
Date
1958
Materials
COTTON, STEEL
No. Pieces
2
Length
84.2
Width
71.5
Description
COTTON GABERDINE APRON WITH NECK & BACK STRAP. LOOPS FOR LEGS. "UNION MILK" EMBROIDERED IN RED THREAD ACROSS CHEST POCKET. POCKETS & SEAMS STICHED IN RE-THREAD, 7 POCKETS. APRON IN KHAKI OR OLIVE GREEN. 2 STEEL LOOPS FOR STRAPS. "M" IN BLACK INK ON INSIDE. 2. BOOK OF MATCHES (FROM INSIDE POCKET): "LFA CLOSE COVER BEFORE STRIKING" ON FRONT. "UNITED FARMERS OF ALBERTA CO-OPERATIVE LIMITED" IN GREEN ON BACK. 3 MATCHES REMAIN; LARGE STAIN ON BACK OF BOOK. "FOREMOST MATCHES, REGINA".
Subjects
CLOTHING-OUTERWEAR
Historical Association
RETAIL TRADE
History
MADE IN EDMONTON AB. BY REYNOLDS MFG. CO. DONOR IS A RETIRED DAIRY WORKER WHO DELIVERED MILK IN LETHBRIDGE FOR UNION MILK AND ITS SUCCESSOR COMPANY. APRONS WERE USED TO CARRY MILK TOKENS & MONEY COLLECTED FROM CUSTOMERS FOR MILK & DAIRY PRODUCTS DELIVERY. DONOR USED AN APRON FROM 1958-86, WHEN HE RETIRED. SEE ARCHIVAL PHOTOGRAPH 1991107612751 FOR AN IMAGE OF JIM BROWN IN HIS UNION MILK APRON, DELIVERING MILK TO EVA MERCER. THE IMAGE WAS PART OF A BETA SIGMA PHI SORORITY FUNDRAISING EFFORT RUN IN THE LETHBRIDGE HERALD. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING AN APRON DONATED BY JIM BROWN. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD AND FROM AN INTERVIEW WITH JIM’S SON, BRAD BROWN. JAMES “JIM” KING BROWN WAS BORN ON OCTOBER 29, 1918 IN BEDLINGTON, ENGLAND, THE SON OF JOHN AND ELIZABETH BROWN (MAIDEN NAME UNKNOWN). HE IMMIGRATED TO THE COALHURST AREA IN 1926 WHERE HE LIVED UNTIL 1937 WHEN HE MOVED TO LETHBRIDGE. IN 1939, JIM ENLISTED IN THE ARMY AND SERVED OVERSEAS FOR SIX YEARS. HE MET JOYCE HATHAWAY IN APRIL 1944 AND THE TWO WERE MARRIED ON OCTOBER 31, 1944. FOLLOWING THE WAR, JIM WORKED A SERIES OF ODD JOBS, FINALLY WORKING FOR CRYSTAL DAIRIES. HIS FRIEND JOHN M. CREDICO WORKED WITH JIM FOR 35 YEARS AT THE DAIRY AND IN AN ARTICLE FROM MARCH 29, 1995 HAD THE FOLLOWING TO SAY ABOUT JIM: “’HE WAS A VERY TRUSTING FRIEND. IF YOU WERE EVER IN TROUBLE, HE’D BACK YOU UP ALL THE WAY.’ IF A CUSTOMER DIDN’T HAVE MILK MONEY, BROWN WAS KNOWN TO LEAVE A FULL BOTTLE ANYWAY. ‘THERE WAS NEVER A TIME WHEN A FAMILY WAS LEFT WITHOUT. HE OFTEN PAID OUT OF HIS OWN POCKET.’” HE RETIRED FROM THE DAIRIES IN 1983. JIM PASSED AWAY AT THE AGE OF 76 ON MARCH 24, 1995. JIM’S SON BRAD HAD THE FOLLOWING TO SAY ABOUT HIS FATHER: “DAD STARTED WITH, ACTUALLY UNION DAIRY, THEN CRYSTAL DAIRY, THEN IT, IT WAS ACTUALLY BOUGHT BY ALL THESE DIFFERENT COMPANIES, BUT, ONE OF THE FIRST JOBS THAT HE HAD WHEN HE GOT OUT OF ACTIVE SERVICE, WORLD WAR II WITH THE CANADIAN ARTILLERY, THIRD ARMY. SO WHEN HE CAME BACK, THERE WAS NOT MUCH WORK, HE WAS JUST JUMPING FROM JOB TO JOB TO JOB, AND HE WORKED, WORKED IN THE AUTO INDUSTRY FOR A WHILE, JUST DOING OIL CHANGES AND WHAT HAVE YOU, BUT THEN HE GOT A JOB WITH UNION DAIRY. NOW, I BELIEVE IT WAS UNION BEFORE IT WAS CRYSTAL, IF IT WAS CRYSTAL BEFORE IT WAS UNION, I CAN’T, I CAN’T REMEMBER. BUT WHEN HE FIRST STARTED, IT WAS HORSE AND WAGON. SO, WHAT THEY WOULD DO, ESPECIALLY WITH THIS APRON, IT WAS ALMOST STANDARD ISSUE TO HAVE SOMETHING ON.” BRAD RECALLED THAT HIS FATHER HAD MANY APRONS LIKE THIS ONE: “HE HAD SEVERAL OF THEM, HE JUST, YOU KNOW, HE, HE’D WEAR ONE UNTIL IT WAS LITERALLY FALLING APART, AND THEN HE’D HAVE ANOTHER ONE IN THE CLOSET. AND DAD WOULD ALWAYS WEAR HIS UNION PINS ON ONE SIDE OF THE APRON, WHERE IT COME AROUND THE NECK. AND HE’D HAVE HIS TEAMSTERS, AND ALL OF HIS, SORT OF MEMBERSHIP BUTTONS ON THERE AS WELL. SO THAT ONE I BELIEVE IS PROBABLY IN THE BEST SHAPE, PROBABLY HE DIDN’T WEAR THAT TOO MUCH. BUT THE APRON WAS USED AS A HOLDER FOR TOKENS AND CHANGE AND A LOGBOOK ALMOST … I THINK THERE’S ACTUALLY FIVE POCKETS AND THAT LARGE FIFTH ONE WAS WHERE HE WOULD HAVE HIS LOG BOOK UP TOP WITH ALL THE PENS, AND YOU CAN SEE WHERE THAT IS. IT WOULD BE QUARTERS IN THE MIDDLE, NICKELS ON THE SIDE, DIMES ON THE SIDE AND THEN THE TOKENS WOULD GO IN THE BOTTOMS.” BRAD RECALLED HOW HE AND HIS BROTHERS WOULD RAID THE APRON FOR CHANGE: “HE WOULD WORK ALMOST A MONTH, AND THERE WOULD ALWAYS BE AN EXTRA, LET’S SAY FIFTEEN TO TWENTY DOLLARS AT THAT END OF THAT MONTH. BECAUSE PEOPLE WOULD GIVE HIM A LITTLE MORE THAN HE NEEDED, AND HE WOULD JUST ACCUMULATE THIS MONEY. AND DAD KNEW WE WERE ACTUALLY GOING BEHIND HIS, WELL HE WOULD HANG IT ON HIS DOOR. STORY HERE, MY MOTHER AND FATHER SLEPT IN DIFFERENT BEDROOMS BECAUSE DAD HAD TO GET UP SO EARLY IN THE MORNING TO BE A MILK MAN. MY MOM NEEDED TO REST, SO SHE COULD SLEEP UNTIL AT LEAST 7 O’CLOCK. AND THE TRICK WAS, DAD WOULD SIT IN THE LIVING ROOM AND WE’D GO SNEAK INTO THE DINING ROOM AND RIGHT TO HIS BEDROOM. AND, AH, OUR DINING ROOM, THERE WAS TWO BEDROOMS RIGHT OFF OF THE DINING ROOM, ONE WAS MY BROTHER’S AND ONE WAS MY DAD’S. AND WE USED TO JUST SNEAK AROUND AND PUT OUR HANDS AROUND THE DOOR AND PULL COINS OUT. AND NOT VERY MUCH AT A TIME YOU KNOW, A NICK, WELL IT WOULDN’T BE A NICKEL, A QUARTER, THIRTY-FIVE CENTS, FORTY CENTS, BLAH, BLAH, BLAH. SOMETHING LIKE THAT. AND WE’D TAKE IT AND WE’D EITHER BUY CONFECTIONARY CANDY, OR WE’D GO PLAY PINBALL DOWN AT THE …CAFÉ OR WHATEVER. WE LIVED RIGHT OFF OF 13TH STREET, SO, MANY, MANY STORES UP AND DOWN THERE GOT THAT MONEY FROM US ALL THE TIME. DAD KNEW IT, DAD KNEW IT ALL THE TIME, BECAUSE HE KNEW, IT WASN’T SHORT, IT WASN’T COMPANY MONEY, IT WAS HIS MONEY. INSTEAD OF HIM BEING BOTHERED ALL THE TIME FOR A NICKEL OR A DIME OR WHATEVER, WITH SIX BOYS, WELL, MY BROTHER MIKE WAS GONE BY THEN. SO HE HAD FIVE BOYS AT THE HOUSE ALWAYS, CONTINUALLY TRYING TO BUM MONEY OFF MY DAD. SO, IT GOT A LITTLE MORE DARING. NOW, THE COINS ARE NOTHING. COINS ARE EASY, BUT HE HAD ACTUAL BILLS, SO HE HAD ONE DOLLAR BILLS AND TWO DOLLAR BILLS AND FIVE DOLLAR BILLS IN HIS LOG BOOK. AND THAT’S WHERE WE – AND IF ANYONE, IT WAS ALMOST A DARE TO GO AND GRAB A DOLLAR. OR A TWO DOLLAR BILL OR A FIVE DOLLAR BILL … HE WAS VERY STRICT, AND HE KNEW DISCIPLINE, AND HE KNEW HOW TO BE POLITE, AND HE KNEW EVERYTHING. BUT STEALING WAS PROBABLY ONE OF THE WORST THINGS, ONE OF THE WORST THINGS. BUT THE OLD ADAGE WAS, HE ALWAYS KNEW WE WERE TAKING THE MONEY. RIGHT, AND, WHEN WE DID GET CAUGHT, AND VERY RARELY WE DID, BECAUSE HE KNEW. HE COULD HEAR THE, HE COULD HEAR THE DOOR RATTLING … YOU KNOW WE’D, AMONG US BROTHERS, WE WOULD, YOU KNOW WE’D TALK AMONG OURSELVES AND NEVER LET DAD IN ON IT, AND THE FUNNY THING ABOUT IT, I LATER, IN LIFE, I TALKED TO HIM ABOUT IT AND HE LAUGHED, HE SAYS, “I KNEW. I KNEW ALL THE TIME.” BECAUSE WE ALL WORKED WITH HIM TOO.” ASKED ABOUT HIS TYPICAL WORK DAY AND WEEK, BRAD ADDED: “THEY WORKED SIX DAYS. THEY WORKED MONDAY TO SATURDAY … AND I REMEMBER WHEN THEY FINALLY GOT THE SATURDAY’S OFF. AND THERE WAS, IT WAS THE GREATEST THING THAT EVER HAPPENED TO HIM. THEN IT GOT TO A POINT THAT THE UNION GOT MORE INVOLVED AND QUALITY OF LIFE GOT A LITTLE BETTER, AND WHAT HAPPENED, THEY GOT WEDNESDAYS OFF TOO SO THEY WOULD GO MONDAY, TUESDAY, THURSDAY, AND FRIDAY WOULD BE A HALF DAY. A HALF DAY, BEING, AND THIS, THIS IS ALMOST THE EVOLUTION OF WHAT WAS GOING ON THEN, THE HOME DELIVERY WAS GETTING PHASED OUT … WELL, DAD, DAD WOULD GET TO THE DAIRY, HE’D BE UP BY, PROBABLY ABOUT 5 O’CLOCK, GET OUT OF THE HOUSE BY 6. THEY’D CAR POOL, GET THERE BY ABOUT TWENTY AFTER SIX. [HE’D] GO IN, HAVE A COFFEE, KIND OF HAVE A BULL SESSION THERE. THEN THEY’D GET ONTO THE DOCKS, LOAD THEIR TRUCKS, COME IN FOR ONE LAST COFFEE KIND OF DEAL AND THEN THEY WOULD TAKE OFF. SO, THEY, IT WAS ALMOST A BY-LAW, AND I DON’T THINK THEY COULD GET GOING UNTIL 7 IN THE MORNING … [DAD WORKED] AS A HOME DELIVERY [MAN]. HE WAS A SUPERVISOR, SO HE DID ALL THE ROUTES, ALL THE WAY THROUGH LETHBRIDGE, SO HE GOT TO KNOW, LIKE EVERYBODY. AT ONE TIME, HE ENDED UP ON THE SOUTH SIDE WITH PEOPLE GIVING HIM KEYS TO GO INTO THE HOUSE TO CHECK THE REFRIGERATOR FOR MILK. AT, AT THE END, HE HAD, I THINK HE SAID ABOUT 265 KEYS ON A RING, AND HE WOULD KNOW WHICH KEY FIT EVERYONE’S HOUSE.” BRAD ELABORATED ON WHAT THE REST OF JIM’S UNIFORM LOOKED LIKE: “DAD ALWAYS WORE A TIE AND SHIRT, SHIRT AND TIE I SHOULD SAY. AND HE WOULD ALWAYS DRESS IMMACULATE (IN THAT KIND OF THING?), HIS SHOES, HIS BOOTS, HIS PANTS, EVERYTHING, HE WOULD ALWAYS KEEP THAT UNIFORM TOGETHER. AND AS THE YEARS WENT ON IT GOT A LITTLE MORE LAX, AND PEOPLE WERE IN SHORTS, YOU KNOW AND RUNNERS, AND STUFF LIKE THAT, AND DAD WOULD NEVER DO THAT. HE WOULD HAVE HIS BOOTS AND YOU KNOW, MOSTLY, MOST OF THE TIME THEY WERE ARMY BOOTS.” SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD AND FOR A TRANSCRIPT OF THE INTERVIEW.
Catalogue Number
P19920002000
Acquisition Date
1992-01
Collection
Museum
Images
Less detail
Other Name
WHAT THE FRACK HAPPENED?
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20160014000
  2 images  
Material Type
Artifact
Other Name
WHAT THE FRACK HAPPENED?
Date
2014
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
3
Length
77.7
Width
86.8
Description
.1: VEST. PATCHWORK OF VARIETY OF MATERIALS AND TEXTURES. CLOSES AT FRONT WITH A LARGE BLUE, CIRCULAR, CONVEX BUTTON, WITH THREE SMALL STONES IN THE CENTRE OF THE BUTTON. A PIECE OF VELVET TRIM LOOPS AROUND THE BUTTON TO CLOSE. A WHITE PAPER TAG (P20160014000.2) HANGS FROM THIS BUTTON. FRONT DEPICTS A NATURE SCENE. ALONG TOP OF VEST, FABRIC IS PINK AND PURPLE, POSSIBLY DEPICTING A SUNRISE OR SUNSET. ON WEARER’S LEFT THERE IS A NATURE SCENE OF A PINE TREE AND ROCKS, WHICH HAS BEEN APPLIQUED AND EMBROIDERED ONTO VEST. LIGHT BROWN YARN DEPICTS THE TREE’S ROOTS, WHICH GO DOWN FROM THE TREE INTO A GREEN SECTION ON THE VEST. THERE ARE SEVERAL BUTTONS AND SMALL ROCKS OF VARIOUS COLOURS SEWN ONTO THIS GREEN SECTION. BELOW THIS IS A BLUE STRIPE, THEN A SECTION OF MULTIPLE SHADES OF BROWN, INCLUDING ONE SECTION THAT IS VERY TEXTURED AND IS LIKELY PAINTED/DYED TYVEK. THE WEARER’S LEFT SIDE DEPICTS A FARMING SCENE WITH MOUNTAINS IN THE BACKGROUND. BELOW THAT IS A CONTINUATION OF THE BLUE STRIPE FROM THE RIGHT SIDE. THEN THERE IS A SECTION OF MULTIPLE SHADES OF BROWN AND PURPLE. THERE IS ALSO ANOTHER SECTION OF PAINTED/DYED TYVEK ON THIS SIDE, WHICH IS PURPLE IN COLOUR AND THERE ARE SEQUINS, BUTTONS, AND SMALL ROCKS SEWN INTO AND ONTO THIS PURPLE SECTION. BACK OF VEST DEPICTS CONSEQUENCES OF FRACKING. TOP OF VEST ON BACK IS A SHADE OF PURPLE/PINK, WITH BLACK NETTING OVER IT. THERE ARE TWO BRIDGE TRUSSES ON THE WEARER’S RIGHT SIDE AND TWO GAS RIGS ON THE WEARER’S LEFT SIDE. BELOW THIS IS A STRIPE OF GOLD RIBBON, WITH 5 GOLD COLOURED KEYS AND FIVE SQUARE WOODEN BUTTONS ATTACHED HORIZONTALLY ACROSS THE VEST. BELOW GOLD STRIPE IS A PATCHWORK OF A VARIETY OF MATERIALS AND TEXTURES AND COLOURS INCLUDE VARIOUS SHADES OF PURPLE, GREEN, BLUE, RED, PINK, YELLOW, AND BROWN. MOST OF THE DIFFERENT PIECES OF MATERIAL ARE BORDERED WITH A RED FRINGE TRIM. ON WEARER’S LEFT SIDE, BELOW ARM HOLE, IS A SMALL SECTION OF BLUE FABRIC WITH THREE SMALL SEA SHELLS SEWN ON. BOTTOM RIGHT HAND CORNER OF THE BACK OF VEST HAS A MEDIUM SIZED WHITE AND RED BUTTON (P20160014000.3). INSIDE OF VEST LINED WITH BLACK NETTING ON THE FRONT AND WITH GOLD, BLACK, AND RED NETTING ON THE BACK. .2: TAG. WHITE, HEAVY PAPER. HANDWRITTEN IN BLUE INK “CREATED BY CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ.” REVERSE HAS HANDWRITTEN IN BLUE INK “ART VEST. $200.XX” WITH 26-14 TYPED IN BLACK INK. 3.8CM LONG X 6.5CM WIDE .3: BUTTON: ROUND BUTTON, WHITE BACKGROUND. DEPICTS A GAS RIG WITH A RED DIAGONAL LINE ACROSS THE RIG. TEXT OF BUTTON READS: “WWW.NODRILLINGLETHBRIDGE.CA”. 6.5CM DIAMETER
Subjects
CLOTHING-OUTERWEAR
Historical Association
DECORATIVE ARTS
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH THE DONOR, CHERYL ATKINSON, CONDUCTED BY KEVIN MACLEAN IN MAY 2016. THIS VEST WAS CREATED AS PART OF AN ART GARMENT CHALLENGE PUT FORWARD BY THE TEXTILE SURFACE DESIGN GUILD. CHERYL WAS BOTH A PARTICIPANT AND AN ORGANIZER OF THIS ART CHALLENGE. CHERYL INDICATED THAT “PART OF THE CHALLENGE WAS TO WORK WITH OTHER MEMBERS OF THE GROUP WHO, MAYBE YOU HADN’T SPENT TIME TRYING TO WORK COLLABORATIVELY WITH.” IN JANUARY 2014 THE GUILD GOT TOGETHER TO DETERMINE THE WORKING GROUPS AND THE THEMES THAT WOULD BE WORKED ON, BASED ON “WHAT THEIR INTERESTS WERE IN LIFE. SO, SOME PEOPLE CHOSE GARDENING, ANOTHER GROUP DID ART, LIKE PURE ART, AND OUR GROUP CHOSE THE ENVIRONMENT. AND, AT THE TIME, THE ENVIRONMENT IN LETHBRIDGE WAS UNDER THREAT, IN QUESTION BECAUSE THERE WAS A COMPANY THAT WAS PLANNING TO DO DIRECTIONAL DRILLING, FRACKING, IN WEST LETHBRIDGE, AND ONE OF THE MEMBERS WHO JOINED OUR GROUP WAS PARTICULARLY CONCERNED ABOUT IT, SO WE THOUGHT THAT WOULD BE A GOOD SOURCE OF INSPIRATION FOR OUR ART GARMENT.” PART OF THE REASON THE GUILD WANTED TO DO A COLLABORATIVE PROJECT LIKE THIS IS BECAUSE THE GROUP HAD GROWN CONSIDERABLY IN SIZE: “OUR GROUP HAS EXPANDED A LOT. IN THE LAST NUMBER OF YEARS WE WENT FROM A GROUP OF ABOUT FIFTEEN PEOPLE TO A GROUP OF ABOUT FORTY PEOPLE, SO IT’S HARD TO GET TO KNOW FORTY PEOPLE INTIMATELY, SO WE WERE TRYING TO FIND A WAY TO CONNECT WITH EACH OTHER, LEARN MORE ABOUT OUR INTERESTS. AND SO, WE JUST, LIKE, HAD A CONVERSATION AND PEOPLE WERE TALKING ABOUT THINGS THEY WERE INTERESTED IN, AND THEN WE STARTED, I THINK WE PASSED AROUND A LIST OF, JUST LIKE A SHEET THAT PEOPLE WOULD WRITE DOWN KIND OF TOPICS OF THEIR INTEREST, AND THEN WE JUST STARTED MATCHING THEM UP, AND THEN WE PUT, WE DIDN’T WANT TO HAVE LIKE TEN PEOPLE ON ONE PROJECT AND ONE ON ANOTHER, SO WE TRIED TO SORT OF SPLIT THEM UP IF PEOPLE PUT DOWN MORE THAN ONE AREA OF INTEREST. SO, ENVIRONMENT JUST TURNED OUT TO BE FRANCES [SCHULTZ], BEV [HALL] AND I SO.” CHERYL INDICATED THAT THE ENVIRONMENT WAS ESPECIALLY IMPORTANT TO GROUP MEMBER BEV HALL: “I THINK THAT THE ISSUE ABOUT THE FRACKING CAME UP AS WE DISCUSSED, LIKE, WHAT WE WERE GOING TO DO ABOUT THE VEST … BEV FOR INSTANCE, LOVES TO HIKE IN THE MOUNTAINS AND THAT SHE FEELS CONNECTED TO THE NATURAL ENVIRONMENT IN SOUTHERN ALBERTA. AND I AM INTERESTED IN THINGS LIKE HERITAGE PLANTS AND NATIVE SPECIES AND THINGS LIKE THAT. I DON’T THINK ANY OF US HAD ANY, LIKE, WE’RE NOT TRAINED ENVIRONMENTALISTS IN ANY WAY. IT JUST SEEMED THAT THAT WAS AN AREA OF INTEREST THAT WE COULD USE AS A FOCUS FOR ART.” TO CREATE THE VEST, THE THREE WOMEN DIVIDED UP THE WORK: “WE DECIDED THAT TOGETHER WE WOULD MAKE A PATTERN AND CREATE THE SHAPE OF THE GARMENT. AND THEN, WE HAD A VERY TIGHT TIME PRESSURE, WE HAD SIX WEEKS TO FINISH IT … SO, WE DECIDED TO PARCEL IT OUT INTO PIECES. SO, FRANCES DID THE BACK, BEV DID THE SHOULDER AREA AT THE FRONT, AND I DID THE LOWER AREA AT THE FRONT. AND THEN BEV SEWED IT TOGETHER, AND THEN I EMBELLISHED IT AT THE END.” TO MAKE THE VEST, THE WOMEN USED FABRIC FROM THEIR COLLECTIONS: “WE KIND OF LOOKED AT THE MATERIALS THAT WE HAD, AND WE HAD QUITE A SELECTION! … AND TRIED TO DECIDE WHAT KINDS OF COLOURS OR TEXTURES, THINGS THAT WE COULD DRAW FROM ON OUR OWN PIECES, AND SOMETIMES WE SHARED THEM WITH THE OTHER PEOPLE THAT WERE – YOU KNOW, IF A PIECE OF MY FABRIC FIT BETTER IN BEV’S AREA, THEN I JUST GAVE HER, AND SHE COULD DECIDE WHETHER SHE’D USE IT OR NOT. AND THEN WE EACH TOOK OUR BITS HOME. BEV DID HER PART FIRST, AND THEN I ADDED MINE TO IT, SO SHE STARTED ON THE FRONT AND THEN I ADDED LATER, AND FRANCES DID THE BACK INDEPENDENTLY OF EACH OTHER. SO WE REALLY DIDN’T KNOW WHAT THE WHOLE PIECE WAS GOING TO LOOK LIKE UNTIL IT CAME TOGETHER AS ONE. AND THEN, ONCE THE PIECE WAS TOGETHER, IT WAS MEANT TO BE SHOWED AT THE TEXTILE GUILD MEETING IN MARCH, AND WE HAD A LITTLE FASHION SHOW, AND WE SHOWED IT OFF, AND RESULTING FROM THE PIECES THAT CAME TOGETHER AT THAT TIME, WE HAD A, WE WERE INVITED TO SHOW THE ARTWORK IN THE DISPLAY CASES AT CASA FOR SIX WEEKS.” CHERYL DESCRIBES THE PIECE: “SO THE IMAGERY IN THE PIECE, AT THE FRONT, WE HAVE THE NATURAL ENVIRONMENT OF SOUTHERN ALBERTA REPRESENTED ON THE TOP, THE SHOULDER AREAS. SO, THE MOUNTAINS, THE COULEES, THE TREES, THE VALLEY, THE WATER. AND THEN IT GOES DOWN TO THE LOWER, WHAT WE WOULD IMAGINE THE UNDERGROUND LAYERS LOOK LIKE IN THE EARTH, THE GEOLOGY, THE WATER TRAVELLING UNDERGROUND, THE ROCKS THE SOIL, THINGS LIKE THAT. AND THEN ON THE BACK SIDE OF THE VEST, WE SEE ALL OF THAT DISRUPTED DURING THE FRACKING PROCESS. WE SEE FRACTURING HAPPENING. THE WATER AND THE EARTH ARE GETTING ALL MIXED TOGETHER AND DAMAGED AND, THE BIG EMBELLISHMENT ACROSS THE BACK, THERE IS A SERIES OF GOLD KEYS RIGHT ACROSS THE BACK OF THE VEST, AND THEY ARE, ACTUALLY, WE HAD JUST MOVED OUT OF THE BOWMAN ARTS CENTRE AT THAT PERIOD IN TIME, AND WE HAD A LOT OF STUDIO KEYS LEFT OVER THAT WE DIDN’T KNOW WHAT TO DO WITH, SO WE JUST SEWED THEM ON THERE, AND THEY REPRESENT THE DRILLING COMPANY THAT WAS PROPOSING TO DO THE FRACKING IN WEST LETHBRIDGE. SO, IT’S SUBTLE, BUT THERE IS KIND OF A MESSAGE THERE. AND THERE’S ALSO A BUTTON ON THE BACK FROM THE ANTI-FRACKING CAMPAIGN.” CHERYL WAS MADE CUSTODIAN OF THE VEST BECAUSE SHE WAS “SORT OF THE PROJECT LEADER … IT WAS ALSO MEANT TO FIT ME, SO I THINK THAT’S ALSO WHY I AM THE ONE THAT HAS CUSTODY OF IT.” SHE IS PROUD OF HOW THE GROUP COLLABORATION TURNED OUT AND FINDS IT A LITTLE DIFFICULT TO PART WITH THE VEST: “IT IS HARD TO PART WITH IT, BUT I CAN’T, I MEAN IT’S SORT OF A SNAPSHOT IN TIME. I MEAN IT WAS SOMETHING THAT WAS VERY CURRENT AND IMPORTANT, AND I THINK WE ADDED SOMETHING TO THE CONVERSATION BY HAVING THIS ON DISPLAY AT THE TIME WHERE DECISION MAKING WAS HAPPENING. BUT I DON’T REALLY KNOW, LIKE I’M NOT GOING TO WEAR IT TO CHURCH ON SUNDAY OR SOMETHING, (LAUGHS) SO, I DON’T REALLY KNOW WHAT ELSE TO DO WITH IT SO.” INCLUDED IN THE DONATION PAPER WORK IS A SMALL DESCRIPTION OF THE VEST, FROM WHEN IT WAS DISPLAYED. THE TEXT READS AS FOLLOWS: “WHAT THE FRACK HAPPENED? CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ OUR WORLD IS A FRAGILE HOME. HOW WE EXPLOIT IT CAN HAVE DRASTIC EFFECTS FAR INTO THE FUTURE. THIS GARMENT IS AN ARTISTIC RESPONSE TO THE CURRENT, MAJOR ISSUE FACING THE CITY OF LETHBRIDGE. THE FRONT DEPICTS THE NATURAL GEO-LANDSCAPE OF THE CITY – PRISTINE SCENERY ABOVE GROUND AND THE MANY DIFFERENT GEOLOGIC LAYERS UNDERGROUND. THE BACK ATTEMPTS TO DEPICT WHAT FRACKING MIGHT DO TO THESE GEOLOGIC LAYERS, AS WELL AS THE THREAT TO THE SURFACE. HOUSES AND THE UNIVERSITY SIT AMONG OIL WELLS WITH THE GOLDEN KEYS SYMBOLIC OF THE SOURCE OF THE THREAT. MANY SURFACE DESIGN TECHNIQUES HAVE BEEN USED. THESE INCLUDE INDIGO DYEING, SHIBORI DYEING AND DISCHARGING, VEGETABLE PRINTING, TYVEK PAINTING WITH HEAT MOLDING, WAX BATIK, DYE PRINTING, BEADING, EMBROIDERY, COUCHING, MARBLING, ETC.” IN THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER THE EXHIBIT IS DESCRIBED: “VESTED INTERESTS IS A COLLECTION OF ART GARMENTS CREATED COLLABORATIVELY BY TSDG MEMBERS. EACH VEST LOBBIES PASSIONATELY FOR A PERSONAL INTEREST HELD BY THE CREATIVE TEAM BEHIND ITS DESIGN. ON DISPLAY IN THE 2ND FLOOR SHOWCASE AT CASA UNTIL APRIL 26.” SEE PERMANENT FILE FOR COPY OF INTERVIEW TRANSCRIPT, THE EXHIBIT DISPLAY TEXT, AND THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER.
Catalogue Number
P20160014000
Acquisition Date
2016-05
Collection
Museum
Images
Less detail
Other Name
CHILD’S, “ADVANCE LUMBER CO”
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
CANVAS
Catalogue Number
P20130004009
  2 images  
Material Type
Artifact
Other Name
CHILD’S, “ADVANCE LUMBER CO”
Date Range From
1950
Date Range To
1960
Materials
CANVAS
No. Pieces
1
Height
0.1
Length
80
Width
40
Description
WHITE CANVAS CHILD’S SIZE FULL APRON. SINGLE POCKET ALONG BOTTOM EDGE DIVIDED INTO THREE COMPARTMENTS WITH LOOSE STITCHING. BIG STRAP AND BACK TIES ATTACHED WITH METAL RIVETS. TEXT SCREENPRINTED ON MAIN BODY READS “ADVANCED LUMBER CO. LTD., YARDS IN SOUTHERN ALBERTA” IN BLACK. TEXT SCREENPRINTED ACROSS POCKET READS “STONEBOARD, THE FIREPROOF WALLBOARD” IN RED. GENERAL WEAR AND GRIME THROUGHOUT; STAINS OF BLACK AND BROWN PAINT. METAL RIVETS ARE RUSTED.
Subjects
CLOTHING-OUTERWEAR
Historical Association
DOMESTIC
RETAIL TRADE
History
THE COLLECTION OF OBJECTS BELONGING TO THE MEISSER FAMILY WAS DONATED BY JUDY WRIGHT, NIECE OF LOWELL MEISSER, WHO OPERATED A FARM OUTSIDE WARNER WITH HIS BROTHER ROME AS THE ‘MEISSER BROS’ FROM 1929 TO 1946. JUDY’S MOTHER WAS THE SISTER OF LOWELL’S WIFE ELINOR, AND SHE SPENT MUCH OF HER CHILDHOOD LIVING WITH THEM AND ROME MEISSER, DUE TO HER MOTHER BEING UNWELL. IN HER LATER ADULT LIFE, JUDY TOOK CARE OF “UNC” ROME AT HIS WATERTON RESIDENCE, AND BECAUSE ROME AND HIS BROTHER LOWELL DID NOT HAVE ANY LIVING DIRECT DESCENDANTS, JUDY WAS LEFT THE FAMILY BELONGINGS WHEN ROME DIED IN 2004. THE FOLLOWING INFORMATION ABOUT THIS ARTIFACT WAS EXTRACTED FROM AN INTERVIEW CONDUCTED WITH THE DONOR BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON NOVEMBER 14, 2013, AS WELL AS FROM A DOCUMENT WRITTEN BY HER AT THE TIME OF THE DONATION. WRIGHT SAID: “[JERALD’S APRON] THIS WOULD BE MY UNCLE [ROME] TEACHING HIS NEPHEW HOW TO DO STUFF… [ROME] BUILT GRANARIES, HOUSES, AND DID MAJOR RENOVATIONS OR REPAIRS TO VARIOUS FARM, HOUSE OR WATERTON COTTAGES.” THE FOLLOWING BRIEF FAMILY HISTORY WAS DEVELOPED WITH INFORMATION FROM ROME MEISSER’S MANUSCRIPT ‘THE MEISSER’S AND OTHER RAMBLINGS’ AND DONATIONS OF FAMILY PAPERS MADE BY WRIGHT TO THE GALT ARCHIVES. THE MEISSER FAMILY PATRIARCH, MICHAEL MEISSER, WAS BORN IN SWITZERLAND IN 1830 AND IMMIGRATED TO ALMA, WISCONSIN IN 1846. HIS SON, JOHN LUTZI MEISSER MARRIED MARIE KINDSCHI ON APRIL 30, 1898 AND THEY MOVED TO WARNER, ALBERTA TO FARM IN 1910, LOOKING FOR A DRIER CLIMATE FOR MARIE, WHO SUFFERED FROM TUBERCULOSIS. THE COUPLE HAD FIVE CHILDREN: ORMA, LOWELL, JOHN (WHO DIED AT AGE TWO OF PNEUMONIA), ROME, AND MARIE. IN 1912, MOTHER MARIE DIED IN A TUBERCULOSIS CLINIC IN SALT LAKE CITY, AND FIVE YEARS LATER FATHER JOHN DIED FROM HEAD TRAUMA SUSTAINED IN A GRAIN ELEVATOR ACCIDENT. ONE OF THE CHILDREN’S PATERNAL AUNTS, FRENA, CAME TO WARNER TO HELP THEM WITH SCHOOLING AND RUNNING THE FARM. IN 1920, ORMA MARRIED LEE TENNEY AND IN 1926 LOWELL MARRIED ELINOR TENNEY, AND THE TWO COUPLES LOOKED AFTER THE TWO YOUNGER SIBLINGS UNTIL ORMA AND LEE MOVED TO CALIFORNIA IN 1931. THE YOUNGEST SISTER, MARIE, LATER JOINED THEM WITH HER SON JIM. LOWELL AND ROME FARMED TOGETHER FROM THE SEASON FOLLOWING THEIR FATHER’S DEATH (WHEN THEY WERE 17 AND 13 YEARS OLD, RESPECTIVELY) UNTIL 1945 WHEN THEIR LAND WAS DIVIDED FOR TAX BENEFIT. ROME NEVER MARRIED, AND IN 1928 HAD A SHORT STINT IN PILOT’S TRAINING BEFORE RETURNING TO FARMING PERMANENTLY. LOWELL AND ELINOR’S SON JERALD WAS BORN IN 1929. BY 1957 THE MEISSERS RETIRED FROM FARMING AND LEASED OUT THEIR LAND, AND IN 1958 THE FAMILY BOUGHT A CABIN IN WATERTON PARK, WHERE THEY SPENT ALL FOLLOWING SUMMERS. LOWELL AND ELINOR’S SON JERALD SPLIT HIS TIME BETWEEN FARMING IN SOUTHERN ALBERTA AND VARIOUS PROJECTS IN THE UNITED STATES. HE ENROLLED IN THE CATHOLIC SEMINARY IN SPOKANE, WASHINGTON, BUT PASSED AWAY IN 1990 BEFORE HE COULD BE ORDAINED. LOWELL DIED IN 1988, ELINOR FOLLOWED IN 1992, AND ROME PASSED AWAY IN 2004. THE FOLLOWING REMEMBRANCES OF ROME ‘UNC’ MEISSER WERE EXCERPTED FROM THE NOVEMBER 14, 2013 INTERVIEW. WRIGHT SAID: “I LIVED WITH THEM AND WENT OUT TO THE FARM ALL SUMMER LONG EVERY YEAR FROM THE TIME I WAS FIVE OR SIX YEARS OLD… I JUST HONESTLY THINK THAT I AM WHO I AM TODAY BECAUSE OF MY UNCLE ROME. MY DAD WAS A STAUNCH OLD ENGLISHMAN AND HE COULDN’T RELATE TO ME. HE WAS 45 YEARS OLD WHEN I WAS BORN BUT HE COULDN’T RELATE TO ME. SO, MY UNCLE COULD… HE SHOULD HAVE BEEN MARRIED WITH AT LEAST A DOZEN CHILDREN. IN HIS EARLY NINETIES, WHEN I FIRST GOT THERE [TO WATERTON] WE’D GO GROCERY SHOPPING. I’D HAVE TO WAIT WHILE HE STOPPED AND CHATTED WITH ALL THE CHILDREN HE’D COME ACROSS. HE SHOULD HAVE HAD LOTS OF KIDS. HE JUST LOVED KIDS AND I WAS A LITTLE KID… I WAS THERE FROM PRACTICALLY BIRTH AND LIVED MONTHS AT A TIME WITH HIM… HE COULD AFFORD TO LOOK AFTER THE COMMUNITY AS WELL… HE GAVE GENEROUSLY TO [COMMUNITY ORGANIZATIONS]. HE GAVE TO THE MILK RIVER HOSPITAL. HE DONATED $200,000 FOR THE HOCKEY GIRLS’ RESIDENCE. THEY HAD NO MONEY AND THAT’S WHY WE NOW HAVE A HOCKEY GIRLS’ RESIDENCE THAT HAS A HUGE KITCHEN AND HOUSES UP TO 25 GIRLS, AND KEEPS OUR WARNER SCHOOL OPEN. SO THAT IS A VERY BIG GIFT, HIS DONATIONS. THEY ALSO STARTED A MEISSER SCHOLARSHIP IN 1967 AND TWO WEEKS AGO I WENT OUT AND GAVE THE TROPHY AND THE MONEY TO THE LAST GIRL THAT WON IT. AND IT WILL GO ON INDEFINITELY AS LONG AS THERE’S A SCHOOL…HE WAS VERY SUPPORTIVE OF CHILDREN AND EDUCATION. THE SCHOLARSHIP, THE HOCKEY GIRLS, KEEPING THE WARNER SCHOOL OPEN - BIG FOCUS FOR HIM – WAS EDUCATION AND CHILDREN… HE WAS ONE OF THOSE KIND OF PRACTICALLY ANONYMOUS DONORS IN THE PAST. HOWEVER, AS HE GOT A LITTLE OLDER, I THINK HE ENJOYED THE ATTENTION. THEY MADE A BIG DEAL ABOUT THE HOCKEY SCHOOL. THE RESIDENCE HAS GOT, HUGE, IT HAS HIS NAME ON IT BUT I DON’T THINK HE SAW THAT. AND THEY HAD HIM RIDE IN THE PARADE ONE YEAR, THE COMMUNITY RECOGNIZED HIM AS MUCH AS HE’D LET THEM RECOGNIZE HIM.” SEE PERMANENT FILE FOR A FULL TRANSCIPT OF THE INTERVIEW, WRITTEN DOCUMENTATION ON THE MEISSER FAMILY BY JUDY WRIGHT AND ROME MEISSER, OBITUARIES AND PHOTOGRAPHS OF FAMILY MEMBERS, AND FURTHER INFORMATION ABOUT EACH ARTIFACT COMPRISING THE DONATION.
Catalogue Number
P20130004009
Acquisition Date
2013-03
Collection
Museum
Images
Less detail

7 records – page 1 of 1.