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Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
COTTON, NYLON
Catalogue Number
P19970041886
Material Type
Artifact
Date Range From
1920
Date Range To
1930
Materials
COTTON, NYLON
No. Pieces
1
Height
0.3
Length
275
Width
203.7
Description
RECTANGULAR NYLON AND COTTON WEAVE CARPET, BLUE AND BEIGE ARE THE DOMINANT COLOURS. CARPET HAS DOUBLE BORDER. OUTER BORDER IS REPEATING SWASTIKA PATTERN. INNER BORDER IS BEIGE BASE WITH BLUE STARS, HEARTS AND OTHER GEOMETRIC DESIGNS ON IT. CENTER OF CARPET IS RECTANGULAR AREA WHICH IS BLUE IN BASE COLOUR WITH BEIGE AND RED DESIGNS OF STARS, LEAFS, BIRDS, HEARTS AND OTHER GEOMETRIC DESIGNS.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
History
DONOR RELATES THAT THE CARPET WAS BROUGHT FROM JAPAN BY ONE OF HER PARENTS AND WAS IN THEIR HOME IN VANCOUVER. CARPET TRAVELLED FROM VANCOUVER TO COALDALE VIA SLOCAN CITY. RUG IS MENTIONED IN DONOR'S NOVEL "OBASAN". THE NAKAYAMA FAMILY WAS ORIGINALLY FROM VANCOUVER BUT MOVED TO COALDALE FOLLOWING THE SECOND WORLD WAR WHEN THEY WERE INTERNED AT SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA BY THE CANADIAN GOVERNMENT. THE DONOR'S FATHER, REV. CANON G.G. NAKAYAMA, WAS AN ANGLICAN MINISTER IN VANCOUVER, AND THEN ESTABLISHED THE CHURCH OF THE ASCENSION IN COALDALE IN 1945 WHERE HE SERVED UNTIL 1970. FROM AUGUST 29 TO 31, 2011 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, JOY KOGAWA, ABOUT HER MEMORIES ASSOCIATED WITH SPECIFIC OBJECTS THAT SHE DONATED IN 1997. OF THIS ARTIFACT, KOGAWA SAID: “THIS LOVELY CARPET, IT WAS A BEAUTIFUL THING, IT WAS IN OUR HOUSE IN MARPOLE, AND I REMEMBER IT AS A CHILD… IT WAS IN THE LIVING ROOM… IT WAS BORDERED BY THIS VERY LUSH COUCH AND THE GRAMOPHONE RECORD… I BELIEVE THAT IT WOULD HAVE BEEN BOUGHT IN VANCOUVER WHEN [MY PARENTS MOVED INTO THEIR HOUSE IN 1937… [THEN] IN SLOCAN, IT WAS IN THE LIVING ROOM, AND OF COURSE WE DIDN’T HAVE ANY VACUUM CLEANER, SO WE COULDN’T KEEP THE THING CLEAN, SO IT WAS ONLY SWEPT… AND IN COALDALE, IN THIS ONE ROOM SHACK THAT WE HAD, IT WAS THERE, IN THE ONE ROOM… IT WAS THERE WITH US ALL OUR LIVES… I’M SURE WAS A BRIGHT, VIBRANT BLUE AT ONE POINT, ITS DARK [NOW]… BLUE WAS MY MOTHER’S FAVOURITE COLOUR… HENCE THE BLUE DRESS AND HER BLUE CLOTHES. SHE WAS A FASHION PLATE, AND SHE LOVED BEAUTIFUL THINGS.” SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041886
Acquisition Date
1997-01
Collection
Museum
Less detail
Other Name
PARAMOUNT THEATRE SALVAGE
Date Range From
1950
Date Range To
2007
Material Type
Artifact
Materials
CLOTH
Catalogue Number
P20070023001
Material Type
Artifact
Other Name
PARAMOUNT THEATRE SALVAGE
Date Range From
1950
Date Range To
2007
Materials
CLOTH
No. Pieces
1
Height
1.6
Length
146.5
Width
91.2
Description
SWATCH OF CARPET, RED BACKGROUND WITH FILIGREE PATTERN IN BLACK, GREEN, OCHRE, AND TAN COLOURS. SEAM ALONG LENGTH OF CARPET. CARPET HEAVILY WORN IN TWO PLACES. LOOSE THREADS AROUND EDGES AND STAINED THROUGHOUT.
Subjects
FLOOR COVERING
Historical Association
BUSINESS
History
SWATCH OF CARPET REMOVED FROM STAIRWELL OF PARAMOUNT THEATRE AFTER ITS CLOSURE IN 2007. CARPET APPEARS TO HAVE BEEN ORIGINAL TO THE BUILDING (SEE 19752201444 AND 19752201445 IN ARCHIVES FOR EARLY IMAGES OF THEATRE. PHOTOS TAKEN AT GRAND OPENING OF THEATRE). THE SAME PATTERN REMAINED IN USE IN THE THEATRE'S LOBBY UNTIL AT LEAST 1968 (SEE199110764140 IN ARCHIVES). NICOLE HEMBROFF, COLLECTIONS ASSISTANT, CONDUCTED AN INTERVIEW WITH JOEY SHACKLEFORD (GRANDSON OF A.W. SHACKLEFORD) IN 2010 AND HE SAID THE RUG SAW A LOT OF TRAFFIC. THE SEAMS WOULD FALL APART AND GET FIXED UNTIL THEY COULDN'T BE FIXED ANYMORE. WHEN NEW CARPETS WERE PURCHASED THEY TRIED TO PICK OUT DARK PATTERNS THAT WERE SIMILAR TO THE OLD ONES. THEY WANTED THE RUGS TO WEAR WELL. ACCORDING TO SHACKLEFORD, THE LOBBY, BACK OF THE THEATRES AND AISLES WOULD HAVE BEEN CARPETED. IN JANUARY OF 1946, MAJESTIC THEATRES, OWNED BY A. W. SHACKLEFORD AND FAMOUS PLAYERS, PURCHASED A SITE AT THE CORNER OF EIGHTH STREET AND FOURTH AVENUE FOR THE FUTURE PARAMOUNT THEATRE. THE 950-SEAT PARAMOUNT THEATRE COST $250,000 TO CONSTRUCT AND OPENED ITS DOORS ON OCTOBER 9, 1950. DURING IT’S 61 YEAR HISTORY (IT CLOSED IN 2007), SMOKEY AND THE BANDIT AND THE SOUND OF MUSIC WERE THE TWO OF THE TOP SHOWS, GRACING SCREENS FOR 13 AND 11 WEEKS, RESPECTIVELY. EVEN MORE IMPRESSIVELY, IN 1997 AND 1998 "THE TITANIC" RAN FOP 24 WEEKS. ROBERT SHACKLEFORD, CAPITOL’S HOUSE MANAGER AND A. W. SHACKLEFORD’S YOUNGEST SON, SAID, “THE PARAMOUNT BECAME A LANDMARK IN THIS CITY… IT WAS CONSIDERED THE FINEST THEATRE OF ITS TIME, NOT JUST IN LETHBRIDGE, BUT ANYWHERE.” IN ADDITION TO THE THEATRE, THREE OTHER BUSINESSES WERE HOUSED IN THE PARAMOUNT’S BUILDING, ALL OPENING OCTOBER 4TH, 1950: DON’S FLOWER AND GIFT SHOP, MARGOT’S LADIES WEAR, AND BROWN’S MUSIC SUPPLIES. THE PARAMOUNT DINER OPENED ITS DOORS ON OCTOBER 9, 1950, AND CLOSED IN 2005. DOUGLAS SHACKLEFORD, A. W. SHACKLEFORD’S ELDEST SON, MANAGED PARAMOUNT THEATRE FOR ITS FIRST YEAR, WHEN ASKED ABOUT THE NEW PARAMOUNT THEATRE, DOUGLAS SHACKLEFORD RESPONDED, “[IT’S] THE BEST IN THE WEST.” IN 1951, THE PARAMOUNT THEATRE RECEIVED THE LARGE MERIT AWARD, THE HIGHEST HONOUR AWARDED BY THE MOTION PICTURE THEATRE INDUSTRY. AN ACCOMPANYING PLAQUE STATED, “SELECTED BY THE SKILLED TECHNICAL EDITORS OF EXHIBITOR AND THEATRE CATALOG TO RECEIVE THE “LARGE MERIT AWARD” INTERNATIONAL RECOGNITION AS ONE OF THE MOST MODERN AND WELL APPOINTED OF ALL CURRENT THEATRES IN 1951.” THE THEATRE BOASTED STATE-OF-THE-ART SOUND AND PROJECTOR EQUIPMENT. THE PROJECTORS WERE THE FIRST OF THEIR KIND TO BE INSTALLED IN WESTERN CANADA. IN AN INTERVIEW WITH LETHBRIDGE HERALD IN OCT 1950, HARRY BOYSE, HEAD PROJECTIONIST, SAID, “THE PARAMOUNT’S PROJECTION SUITE IS ULTRA MODERN. IT IS EQUIPPED WITH THE LATEST PROJECTORS AND HAS SOUND EQUIPMENT THAT LEAVES ABSOLUTELY NOTHING TO BE DESIRED.” ANOTHER MODERN FEATURE OF THE THEATRE WAS THE ONE-WAY GLASS LOCATED BETWEEN THE MANAGER’S OFFICE AND THE AUDITORIUM AND FOYER. MANY DESIGN FEATURES OF THE PARAMOUNT STRESSED COMFORT. KROEHLER SLIDE-BACK CUSHIONED SEATS ALLOWED FOR CUSTOMERS TO REMAIN SEATED WHILE ALLOWING OTHERS TO PASS. LIGHTING SYSTEMS WERE DESIGNED TO GRADUALLY DECREASE AND INCREASE IN BRIGHTNESS SO THAT CUSTOMERS COULD ACCLIMATIZE. ADDITIONAL COMFORTS INCLUDE A WAITING LOUNGE, A WATER FOUNTAIN GUARANTEEING COLD WATER, A PRIVATE VIEWING ROOM FOR THOSE ON CALL, PRIVATE PARTIES, OR SMALL CHILDREN, AND A HEATING SYSTEM THAT EVENLY DISTRIBUTED HEAT. THROUGHOUT ITS OPERATIONS THE PARAMOUNT CINEMA UNDERWENT MANY RENOVATIONS AND FREQUENTLY UPDATED ITS TECHNOLOGY TO MEET MODERN STANDARDS. IN 1968, PARAMOUNT THEATRES ADDED A SECOND THEATRE, WHICH HELD 580 SEATS, MAKING IT THE FIRST MULTI-SCREEN THEATRE COMPLEX IN LETHBRIDGE. HENCEFORTH, IT WAS KNOWN AS PARAMOUNT CINEMA. IN 1985, SEAT WIDTH AND LEG ROOM WAS INCREASED, AND THE “CADILLAC” OF THEATRE SEATS WERE INSTALLED. IN 1988, 18 SURROUND SPEAKERS AND A DOLBY STEREO AMPLIFIER SYSTEM WERE INSTALLED. AT SOME POINT, THE PARAMOUNT RECEIVED A NEW CINEMASCOPE SCREEN. ACCORDING TO ROBERT SHACKLEFORD, THE GENERAL MANAGER OF LETHBRIDGE THEATRES LTD., “YOU RENOVATE OR STAGNATE… THAT’S BEEN MY POLICY ALL MY LIFE.” IN ADDITION TO PROVIDING ENTERTAINMENT, PARAMOUNT THEATRE SERVED THE COMMUNITY BY ALLOWING VARIOUS EVENTS TO TAKE PLACE INSIDE. IN JANUARY OF 1953, THE FIRST BAPTIST CHURCH BURNED DOWN, AND SUNDAY SERVICES WERE HELD AT THE PARAMOUNT THEATRE UNTIL A NEW CHURCH WAS BUILT. THE ST. MICHAEL’S SCHOOL OF NURSING HELD ITS GRADUATION CEREMONIES AT THE THEATRE DURING THE 1960S. THE PARAMOUNT HOSTED MANY CONCERTS, INCLUDING THE LETHBRIDGE SYMPHONY ORCHESTRA AND THE KIWANIS MUSIC FESTIVAL. AFTER UPDATING SCREEN TECHNOLOGY TO CINEMASCOPE, THE FRONT THREE ROWS WERE REMOVED. SHACKLEFORD SAID, “THAT’S WHEN WE DECIDED THE FRONT ROWS WERE TOO CLOSE FOR THE GIANT SCREEN AND WE EXPANDED THE STAGE TO ACCOMMODATE THE SYMPHONY…” IN 1978, THE SHACKLEFORD FAMILY ALONG WITH PARAMOUNT CINEMA HOSTED A WEEKEND-LONG EVENT TO CELEBRATE 50 YEARS OF FILM. THEY SCREENED OLD CLASSIC FILMS, AND OFFERED TICKETS, POPCORN, ICE CREAM AND DRINKS FOR $0.50 AND $0.10, RESPECTIVELY, REFLECTIVE OF 1928 PRICES. FAMOUS PLAYERS BOUGHT OUT THE SHACKLEFORD FAMILY AROUND 1990. IN THE FOLLOWING YEARS, THE PUBLIC COMPLAINED ABOUT DETERIORATING CONDITIONS OF THE THEATRE. SUCH COMPLAINTS WERE IGNORED BY FAMOUS PLAYERS. A LETTER IN THE LETHBRIDGE HERALD IN OCT 2004 ENCOURAGED THE PUBLIC TO WRITE TO THE VICE-PRESIDENT OF CORPORATE AFFAIRS TO VOICE THEIR DISAPPROVAL FOR THE STATE OF THE PARAMOUNT. FOR MORE INFORMATION, SEE PERMANENT RECORD, DVD WALKTHROUGH AFTER CLOSURE AND ARCHIVES 19752201444, 19752201445, 199110764140. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING A PORTRAIT OF ALFRED WILLIAM SHACKLEFORD (P20060025001-GA), OWNER OF THE SHACKLEFORD THEATRES. THE FOLLOWING BIOGRAPHY OF MAYOR SHACKLEFORD WAS DEVELOPED WITH INFORMATION FROM ARCHIVES CANADA ONLINE AND A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM MAY 31, 1992. A.W. SHACKLEFORD WAS BORN IN ESSEX, ENGLAND IN 1899 AND CAME TO CALGARY WITH HIS PARENTS IN 1909. AFTER HIGH SCHOOL HE TRAINED AS A DRAFTSMAN BUT WAS EMPLOYED BY THE FILM EXCHANGE AND FOX FILMS. IN 1921 HE WAS HIRED TO MANAGED THE KING'S THEATRE IN LETHBRIDGE AND BECAME ASSOCIATED WITH MARK ROGERS, A LETHBRIDGE BUSINESSMAN WHO OWNED THREE LOCAL MOVIE THEATRES. SHACKLEFORD ALSO BECAME PARTNER IN THE AMUSEMENT COMPANY THAT OPENED THE HENDERSON LAKE PAVILLION IN 1924. BY 1925 HE WAS PART-OWNER OF THE FORMER EMPRESS THEATRE ON 5TH AVENUE SOUTH, RENAMING IT THE ROXY. HE THEN TEAMED UP WITH THE FAMOUS PLAYERS COMPANY TO REMODEL THE FORMER PALACE THEATRE AND RENAME IT THE CAPITOL. SHACKLEFORD ALSO OPENED THE THEATRE IN THE FORMER COLLEGE MALL, BUILT THE 960-SEAT PARAMOUNT THEATRE ON 4TH AVENUE SOUTH, AND TOOK OVER OPERATION OF THE DIRVE-IN THEATRE AT THE SOUTH CITY LIMITS. SHACKLEFORD WAS HEAVILY INVOLVED IN CIVIC LIFE, ACTIVE IN GROUPS INCLUDING THE CANADIAN CANCER SOCIETY, THE GYRO CLUB, UNITED WAY, LETHBRIDGE & DISTRICT EXHIBITION BOARD, BOARD OF TRADE, ST. AUGUSTINE'S CHURCH, AND THE ALBERTA THEATRE OPERATORS ASSOCIATION. HE AND HIS WIFE ADA HAD TWO SONS, ROBERT AND DOUGLAS. AFTER SEVERAL TERMS AS ALDERMAN STARTING IN 1939, SHACKLEFORD FIRST SERVED AS MAYOR FROM 1944 - 1947, AND FOR TWO MORE TERMS FROM 1952 - 1955 AND 1957 - 1961. HE WORKED FOR 68 YEARS IN THE MOVIE BUSINESS, RETIRING AT AGE 90. W.A. SHACKLEFORD DIED IN LETHBRIDGE ON MAY 30, 1992. SEE PERMANENT FILE P20060025001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P20070023001
Acquisition Date
2008-08
Collection
Museum
Less detail
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19738251000
Material Type
Artifact
Date Range From
1900
Date Range To
1910
Materials
WOOL
No. Pieces
1
Length
157.5
Width
63.5
Description
HAND WOVEN, ORANGE, BLACK, WHITE, GOLD, WINE, PURPLE AND GREEN. CONSISTS OF DIFFERENT COLORED WOOL WOVEN IN VERTICAL STRIPES. BORDERS ARE WEARING. ONE CORNER HAS BEEN REPAIRED WITH GREEN THREAD. JUST BESIDE REPAIR IS 1/2 INCH HOLE.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
History
UKRAINE. . *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
P19738251000
Acquisition Date
1966-02
Collection
Museum
Less detail
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOL
Catalogue Number
P19738252000
Material Type
Artifact
Date Range From
1900
Date Range To
1910
Materials
WOOL
No. Pieces
1
Length
155.0
Width
63.5
Description
HAND WOVEN, ORANGE, BLACK, WHITE, GOLD, WINE, PURPLE, GREEN.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
History
UKRAINE. . *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
P19738252000
Acquisition Date
1966-03
Collection
Museum
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
COTTON, SACKING
Catalogue Number
P19790003000
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
COTTON, SACKING
No. Pieces
1
Length
109.8
Width
77.5
Description
RUG IS HAND HOOKED WITH RAG PIECES HOOKED THROUGH SACKING MATERIAL. DESIGN COLOURS ARE NAVY BLUE, BROWN, BEIGE, RED, GREY, GREEN AND YELLOW. CORNERS FRAYING.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
History
PROBABLY LOCALLY MADE.
Catalogue Number
P19790003000
Acquisition Date
1973-06
Collection
Museum
Less detail
Other Name
PLASTIC BAG RUG
Date Range From
1970
Date Range To
1990
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20010079003
Material Type
Artifact
Other Name
PLASTIC BAG RUG
Date Range From
1970
Date Range To
1990
Materials
PLASTIC
No. Pieces
1
Height
0.7
Length
73.4
Width
43.0
Description
A SMALL, MULTICOLORED (RED, WHITE, BLUE, ORANGE ARE MOST FREQUENTLY SEEN) RUG THAT IS MADE OUT OF PLASTIC BAGS WOVEN TOGETHER. THE DESIGN IS ONE OF REPEATING OVALS.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
DECORATIVE ARTS
History
MADE BY THE GRANDMOTHER OF THE DONOR, MRS. MYRTLE TIDBALL WHO HOMESTEADED AND LIVED NEAR CARSTAIRS. OFTEN REUSED PLASTIC BAGS IN THIS WAY.
Catalogue Number
P20010079003
Acquisition Date
2001-12
Collection
Museum
Less detail
Other Name
PIANO BENCH COVER
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
CHENILLE
Catalogue Number
P20010047012
Material Type
Artifact
Other Name
PIANO BENCH COVER
Date Range From
1930
Date Range To
1950
Materials
CHENILLE
No. Pieces
1
Height
0.2
Length
114.0
Width
54.6
Description
EMBROIDERED RUG. FEATURES THE IMAGE OF TWO WHITE KITTENS, ONE WITH A GREEN RIBBON AROUND ITS NECK THE OTHER WITH A RED ONE. BENEATH THE KITTENS IS AN ARTIST'S PALETTE AND PAINT BRUSHES. THERE ARE SPLOTCHES OF COLOUR (PAINT) SURROUNDING KITTENS, INCLUDING WHITE, BLUE, YELLOW AND PINK. ALL OF THIS IS ENCOMPASSED WITHIN A WHITE OVAL WITH A DECORATIVE BORDER. BACKGROUND COLOUR IS BROWN, INDIAN RED, AND CORAL. TWO ENDS OF RUG HAVE CORAL COLOURED TASSELS.
Subjects
HOUSEHOLD ACCESSORY
FLOOR COVERING
Historical Association
DOMESTIC
History
ITEMS CAME FROM THE HOME OF PEARL AND JACOB LIEBELT, WHO LIVED IN WARNER, FARMED EAST OF WARNER, AND RETIRED TO LETHBRIDGE IN 1996. PEARL WAS BORN IN WARNER TO GEORGE AND ETTA MAE WOITTE, SEPTEMBER 19, 1918. JACOB WAS BORN IN ANAMOOSE, NORTH DAKOTA AUGUST 1, 1910. JACOB WENT TO WORK AT THE AGE OF 12 OR 13 IN THE MILK RIVER AND WARNER AREA. EVENTUALLY MET AND MARRIED PEARL WOITTE, NOVEMBER 12, 1938, AND BUILT A SUBSTANTIAL FARMING OPERATION. PEARL WAS SECRETARY OF THE WARNER SUNDAY SCHOOL FOR MANY YEARS AND WAS VERY INVOLVED IN THE ALBERTA WOMEN'S INSTITUTE, WOMEN'S INSTITUTE GIRLS CLUB, AND FARM WOMEN'S UNION OF ALBERTA. SHE WAS ALWAYS VERY PROPERLY DRESSED WITH HATS AND GLOVES WHEN SHE ATTENDED LOCAL FUNCTIONS. JACOB WAS VERY INVOLVED IN FARMING, SPORTS, LIONS CLUB, AND ELKS CLUB. SEE P20010047001 FOR LIEBELT FAMILY HISTORY AND P20010047047 FOR DONOR (ELAINE LIEBELT) HISTORY. ___________ AT THE GALT’S REQUEST, DONOR ELAINE LIEBELT PROVIDED MORE DETAILS WITH REGARDS TO HER FAMILY'S AND HER OWN USE OF RESPECTIVE OBJECTS IN THE LIEBELT COLLECTION ON 31 AUGUST 2011. HER ORIGINAL COMMENTS AS TO THIS OBJECT ARE AS FOLLOWS: “THIS PIANO BENCH COVER, FROM OUR BEST RECOLLECTION, BELONGED TO MAE WOITTE, PEARL’S MOTHER. WE HAVE NO RECALL OF IT BEING ON THE LIEBELT PIANO BENCH. (WITH 4 KIDS ON AND OFF THAT BENCH, THERE WAS NO CHANCE THAT THE COVER WOULD HAVE STAYED IN PLACE.)”
Catalogue Number
P20010047012
Acquisition Date
2001-12
Collection
Museum
Less detail
Material Type
Artifact
Materials
WOOL, DYE
Catalogue Number
P20160003006
  2 images  
Material Type
Artifact
Date
1929
Materials
WOOL, DYE
No. Pieces
1
Length
182.5
Width
117.5
Description
HAND-WOVEN RUG MADE FROM HAND-DYED, HANDSPUN WOOL. THERE IS A 3-4 CM WIDE BLACK BORDER AROUND ALL LENGTHS OF THE RUG, WITH FRINGE ON THE SHORT ENDS. INSIDE THE BLACK BORDER IS A SINGLE WOVEN BORDER OF LIGHT BLUE WOOL. INSIDE OF THIS BORDER IS A PATTERN SET ON A DARK BURGUNDY-COLOURED BACKGROUND. THERE IS A BLUE FLOWER IN THE CENTER OF THE RUG. ON ONE END THE DATE “1924” IS WOVEN IN RAW-COLOURED WOOL. THE “9” HAS BEEN WOVEN UPSIDE DOWN. ON THE OPPOSITE END OF THE RUG, THE INITIALS “ ” FOR THE NAME LISAVETA PETROVNA WISHLOW, ARE WOVEN IN LIGHT BLUE. THERE ARE 20 HARPS COLOURED EITHER BLUE, ORANGE, PINK, OR YELLOW AROUND ALL LENGTHS OF THE RUG. UNDER THE HARPS IS A GREEN VINE PATTERN AND A RED DECORATIVE BORDER. THE DESIGN ELEMENTS ARE LAID OUT SYMMETRICALLY OVER THE RUG AND CONSIST OF FLOWERS, DUCKS, AND BUTTERFLIES. VERY GOOD TO EXCELLENT CONDITION. SLIGHT WEAR TO THE WOOL FROM USE.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. THIS RUG WAS HAND-WOVEN BY ELIZABETH KONKIN IN 1924. THE RUG WAS USED AS A WALL COVER IN THE WINTER AND ACTED AS AN INSULATOR. LATER IT WAS USED ON THE FLOOR AT CHRISTMASTIME. IT WAS INHERITED BY MORRIS PRIOR TO THE PASSING OF HER MOTHER: “I CAME INTO POSSESSION [OF IT] FROM MY MOTHER. SHE DIED IN 2003 AND I GOT THE RUG SLIGHTLY BEFORE THEN AND YES THAT WOULD BE ABOUT THE TIME… I HAVE NO OTHER SIBLINGS AND SO OBVIOUSLY EVERYTHING SHE MADE WOULD GO TO ME. MY SON SAID HE WOULD LIKE TO HAVE THE RUG, BUT CHANGED HIS MIND. HIS WIFE WAS NOT KEEN ON HAVING IT, SO I HAD TO DO SOMETHING WITH IT. TO ME IT IS A VERY BEAUTIFUL RUG AND I WANTED IT SOME PLACE WHERE IT WON’T GET TRASHED BY DOGS OR ANIMALS.” AFTER ACQUIRING THE RUG, MORRIS PLACED IT ON THE FLOOR OF HER HOME IN LETHBRIDGE: “THE LINO [ON THE FLOOR] STARTED TO WEAR OUT AND I THOUGHT YOU CAN’T PUT A RUG LIKE THAT ON ANOTHER LINO. IT JUST DOESN’T GO. BUT I DO LIKE HARDWOOD SO WE HAD HARDWOOD PUT THROUGHOUT THE BEDROOMS. THE LAST ROOM IS MY OFFICE, FIRST OF ALL, I HAD THE RUG IN THIS BEDROOM AND THEN IT WASN’T VERY CONVENIENT TO CLEAN BECAUSE THERE WASN’T THAT MUCH SPACE SO I PUT IT IN MY OFFICE WHERE I LOVED IT, BUT I KEPT STUMBLING OVER IT. I THOUGHT I MIGHT BREAK A LEG IF I DO THIS SO I BETTER GET RID OF IT… THE HARDWOOD WAS PUT IN BEFORE THE GST WENT IN. I DIDN’T HAVE THE RUG THEN BUT I THOUGHT THAT I WOULD BE GETTING THE RUG AND SO I WOULD HAVE IT HARDWOOD… WAS IT 1995? ANYWAY BEFORE GST WENT IN.” THE RUG HAD BEEN PRESENT THROUGHOUT MORRIS’ LIFE – FROM TIME SPENT ON THE DOUKHOBOR COLONY IN SHOULDICE, ALBERTA TO LIFE ON A FARM OUTSIDE OF VAUXHALL, ALBERTA: “I CAN REMEMBER WHEN I WAS BORN. THE RUG WAS IN MY PARENT’S HOME. WE LIVED ON A DOUKHOBOR COLONY, WE HAD MUD PLASTERED WALLS AND OUR HOUSE WAS WELL BUILT. MY DAD BUILT IT. SOME OF THE HOUSES ONLY HAD ONE LAYER OF WOOD AND THEY WERE VERY COLD, HOWEVER OUR BEDROOMS HAD WALLS ON THE NORTH SIDE. IN WINTER THEY GOT CHILLY, SO EVERY WINTER THEY WOULD NAIL UP THIS RUG UP AGAINST THE WALL. IT STAYED THERE FOR THE WINTER. FOR SUMMER IT CAME DOWN, I DON’T [KNOW] WHERE SHE STORED IT, I THINK POSSIBLY IN ONE OF THE BIGGER TRUNKS AND THEN TOOK IT OUT… THIS HOME [WHERE THE RUG WAS PLACED], IT’S OUTSIDE OF VAUXHALL. WE LEFT THE COLONY, MOVED TO VAUXHALL AND MOVED THE HOUSE. THE HOUSE WAS EXPANDED AND THEN WE LIVED IN THAT HOUSE. I LEFT HOME AND MY PARENTS HAD A HOUSE IN LETHBRIDGE WHICH DAD BUILT ALSO AND HE SOLD THE FARM. THEY ASKED IF WE WANTED TO GO AND WE DIDN’T. SO THEY SOLD THE FARM AND THERE WAS A BEAUTIFUL POND WHERE WE SWAM AND BOATED AND WE HAD LOTS OF TREES AROUND THE HOUSE. IT WAS ABOUT AN ACREAGE IF NOT MORE AND WHEN HE SOLD IT THE NEW OWNERS, VERY FRUGAL PEOPLE, [THEY] BURNT DOWN THE HOUSE, THE STEAM BATHROOM, THE GARAGE, THE WORKS. NOW MIND THEY WERE OLD STATE BY NOW AND THEY PLOWED [IT ALL INTO] IN THE POND BECAUSE THEY WANTED TO MAKE MONEY FROM THE GRAIN [FIELDS], SO WHEN I WENT THERE A COUPLE OF YEARS LATER, [I WAS] SURPRISED EVERYTHING WAS GONE, SO THAT WAS THAT." THE RUG MAY HAVE BEEN WOVEN BY MORRIS’ MOTHER ON THE DOUKHOBOR COLONY IN SHOULDICE OR DURING THE WINTER SPENT IN COWLEY: “… IT COULD HAVE BEEN WOVEN IN COWLEY BECAUSE THEY STAYED IN COWLEY FOR THE WINTER BUT I CAN’T BE TOO SURE. IT ALSO COULD HAVE BEEN MADE ON THE COLONY… TWENTY MILES EAST OF MOSSLEIGH.” ELIZABETH KONKIN WAS MARRIED IN 1927, SO THE INITIALS WOVEN ON THE RUG ARE OF HER MAIDEN NAME: “THAT’S AN “L” [ ] THAT’S LISAVETA (SIC.) BUT HER NAME IS YALALISAVETA (SIC.) BUT SHE PUT DOWN LISAVETA. PETROVNA THAT’S A “P” [ ] THAT’S DAUGHTER OF PETRO AND WISHLOW [ ] THAT WAS HER MAIDEN NAME. ... [AFTER MAKING THE RUG] THERE WAS SOME WARP LEFT OVER. … WARP IS THE STUFF THAT RUNS DOWN AND WEFT IS WHAT YOU PUT IN BETWEEN WITH A SHUTTLE BUT THIS WASN’T PUT IN WITH A SHUTTLE. EACH INDIVIDUAL THREAD WAS KNOTTED. IT’S LIKE DIFFAGHAN (SIC.) - A SWEDISH METHOD - AND THAT’S HOW IT WAS DONE. IF THERE WAS SOME LEFT OVER AND HER MOM INSISTED THAT SHE DO ANOTHER RUG. WELL SHE DIDN’T WANT TO DO IT. SHE SAYS “YOU MAKE IT FOR YOUR BROTHER.” SHE FELT HIS WIFE SHOULD DO HER OWN HOPE CHEST BUT SHE DID AND THE INTERESTING THING IS THAT HIS RUG THEY USED IT ON THE FLOOR. MY MOTHER DIDN’T USE THIS ONE ON THE FLOOR EXCEPT AT CHRISTMAS TIME SO THE WISHLOW FAMILY WHO HAD THE OTHER RUG, THE MOTHER WASN’T TOO KEENLY INTERESTED IN IT. THEY HAD IT IN THE LIVING ROOM AND THEN IT WENT UP FOR SALE TO A PLACE THAT WAS OWNED BY A MAN NAMED, HIS LAST NAME WAS EWASHEN (SIC.) …THAT’S [THE RUG’S] TWIN, YES.” MORRIS THEN GOES ON TO DESCRIBE SOME OF THE OTHER PATTERNING FOUND ON THE RUG: “OKAY THOSE ARE HARPS. SHE HAD PATTERNS TO GET THEM FROM OTHER WEAVERS AND THEN SHE’D TRACE THEM OUT. I DON’T KNOW WHAT SHE USED TO TRACE THEM ON THE WARP [WITH] AND THEN SHE’D WEAVE AWAY WITH THE THREAD THAT WERE THE WEFT. SHE PUT THE DESIGNS HERSELF ONTO THE RUG” THE RUG WAS BROUGHT TO LETHBRIDGE WHEN ELIZABETH AND WILLIAM KONKIN RETIRED THERE: “I WAS TEACHING SCHOOL IN COALDALE WHEN THEY MOVED AND DAD MADE THE HOUSE IN NORTH LETHBRIDGE… THE HOUSE IS NICELY BUILT AND IT’S WARM, IT’S COMFORTABLE SO THERE’S NO USE PUTTING IT UP ON THE WALL. EVERY CHRISTMAS SHE’D TAKE IT OUT AND WE’D ROLL AROUND ON THIS RUG AND SHE WOULD HANG IT UP AFTER THE NEW YEAR SO I SAID TO HER ‘WHY DON’T YOU PUT IT ON THE FLOOR?’ AND SHE SAID, 'WELL I DON’T WANT TO MESS IT UP.' HOWEVER, I SAID, 'WELL I’M GOING TO PUT IT ON THE FLOOR,' SO THAT’S WHERE IT WAS UNTIL I STARTED STUMBLING OVER IT.” AMONG THE OTHER ARTIFACTS DONATED BY MORRIS THAT WERE OWNED BY HER MOTHER, THE RUG WAS A SIGNIFIER OF THE HARD WORK REQUIRED WITHIN THE DOUKHOBOR LIFESTYLE: “[THE BLANKET AND THE SPINNING WHEEL] MEANT A LOT WELL AFTER THE WAR AND THINGS WERE CHEAP. THEY DIDN’T HAVE TO WEAVE THEIR OWN STUFF. PRIOR TO THAT, NOT IN MY MOTHER’S TIME EVEN BEFORE THAT MY GRANDMOTHER’S TIME, EVERY GIRL HAD TO WEAVE A TROUSSEAU FOR HERSELF TO LAST A LIFETIME BECAUSE SHE STARTED HAVING CHILDREN AND SHE WOULDN’T HAVE THE TIME TO DO IT. THERE WERE THINGS THAT WERE ANCIENT THAT WERE USED AND USED UNTIL THEY DIED HOWEVER, IN MY MOTHER’S DAY THEY KNITTED THEIR OWN SOCKS, THEY MADE THEIR OWN QUILTS. THE MEN DID THE BUILDING AND THEY LIVED OFF THE GARDENS BECAUSE THEY WERE VEGETARIANS SO THEY DIDN’T HAVE TO WORRY ABOUT MEAT. THEY BOUGHT EGGS FROM THE NEIGHBOURS WHO WERE FARMERS. THE INTERESTING THING THERE WAS THAT THEY WEREN’T SUPPOSED TO EAT MEAT AND I ATE MEAT WHEN I WAS CLOSE TO TWENTY. WHEN I TELL MY VEGETARIAN RELATIVES WHAT ABOUT YOUR SHOES AND YOU’VE GOT LEATHER, COWHIDE WHATEVER AND THEY COULDN’T COME UP WITH AN ANSWER SO… THEY REPRESENTED HARD WORK THAT’S, THIS TAKES A LONG TIME WHEN YOU THINK OF EVERY KNOT THAT HAD TO BE TIED AND IT WAS PART OF HER TROUSSEAU. THE SPINNING WHEEL MEANT A LOT BECAUSE YOU HAD TO SPIN THE WOOL SO.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003006
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
NYLON
Catalogue Number
P19940037009
Material Type
Artifact
Date Range From
1950
Date Range To
1970
Materials
NYLON
No. Pieces
2
Length
99
Diameter
20
Description
1. SMALL RUG MADE OF BRAIDED NYLON STRIPS WOUND INTO FLAT CIRCLE AND STITCHED IN PLACE. UNFINISHED, WITH END PIECES HELD WITH WOODEN CLOTHES PIN. RUG IS PRIMARILY GREY AND BLUE IN COLOR, WITH BEIGE AND BURGUNDY. SOME SNAGS. 2. BRAIDED NYLON STRIP: 2CM (W) X 41CM (L). APPEARS TO BE THE BEGINNING OF A RUG, OVAL IN SHAPE. WOVEN INTO ITSELF RATHER THAN STITCHED TOGETHER AS FIRST PIECE WAS. ALSO UNFINISHED, WITH LOOSE ENDS HANGING. BEIGE, PINK AND BLUE IN COLOR. NYLONS ARE SNAGGED AND CUT IN SEVERAL PLACES. 3. GREY NYLON FRAGMENT: 79CM (L) X 16.5CM (W). CUT AND SNAGGED THROUGHOUT.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
History
DOUKHABOR ARTIFACT, IS USING OLD NYLONS. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING ITEMS DONATED BY LENORA DUCE. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD AND A FAMILY HISTORY DOCUMENT FROM THE CARDSTON HISTORICAL SOCIETY. LENORA ADELAIDE (LAIDA) DUCE (NEE SHEFFIELD) WAS BORN ON FEBRUARY 2, 1898 AT CARDSTON, AB. SHE WAS THE ELDEST DAUGHTER OF WILLIAM W. AND LENORA HUDSON SHEFFIELD. AT THE AGE OF 17 SHE TOOK A JOB WITH AGT AND ON JUNE 1, 1916 SHE WAS APPOINTED AS AGENT CHIEF OPERATOR, A POSITION SHE HELD UNTIL HER MARRIAGE ON FEBRUARY 2, 1921 TO WILLIAM HINMAN DUCE. LENORA PASSED AWAY ON SEPTEMBER 26, 2000. WILLIAM HINMAN DUCE WAS BORN IN CARDSTON, AB ON JULY 23, 1896, THE SON OF THOMAS WILLIAM AND RHODA ADELAIDE HINMAN DUCE. HE WORKED FOR DUCE BROTHERS, A STORE WHICH SOLD SHOES, MEN’S CLOTHING, AND FURNITURE. HE ALSO SERVED IN THE R.N.C.V.R. DURING WWI, TRAINING ON THE WEST COAST AND SERVING IN HALIFAX UNTIL DECEMBER 23, 1918. WILLIAM ALSO SOLD INSURANCE FOR A FEW YEARS, WORKED AT CARDSTON MOTORS, FORD MOTORS IN TABER, INSPECTED CROPS FOR PRAIRIE FARM ASSISTANCE, AND OPERATED A FARM IMPLEMENT BUSINESS. IN 1952, WILLIAM SOLD THE FAMILY HOME IN CARDSTON AND MOVED TO LETHBRIDGE. HE PASSED AWAY ON JANUARY 27, 1971 AT THE AGE OF 74. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD AND THE CARDSTON HISTORICAL SOCIETY. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING A BIB AND SHORTS DONATED BY LENORA S. DUCE. ATTEMPTS MADE TO LOCATE NEXT-OF-KIN OR INDIVIDUALS ABLE TO SPEAK ABOUT THE ARTIFACTS PROVED UNSUCCESSFUL.
Catalogue Number
P19940037009
Acquisition Date
1994-07
Collection
Museum
Less detail
Other Name
RAG RUG
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19940007002
Material Type
Artifact
Other Name
RAG RUG
Date Range From
1930
Date Range To
1940
Materials
COTTON
No. Pieces
2
Description
1. RUG: 110CM X 61CM RECTANGULAR RAG WOVEN RUG. RUG IS MADE UP OF VARIOUS COLORED RAG STRIPS WOVEN TOGETHER. COLORS ARE MOSTLY PASTEL BLUES, YELLOWS, BROWNS AND PINKS. ENDS OF RUG HAVE WHITE COTTON STRING FRINGE. THIS FRINGE IS WORN BADLY AT BOTH ENDS. RUG HAS SEVERAL SMALL HOLES IN IT. WEAVE IS IMPRECISE AND EDGES ARE NOT PERFECTLY STRAIGHT. 2. RUG: 253CM X 54CM RECTANGULAR RAG WOVEN RUG. RUG IS MADE UP OF VARIOUS COLORED RAG STRIPS WOVEN TOGETHER. THUS RUG HAS STRIPED SECTIONS THAT ARE BROWN, PINK, BEIGE, WHITE, AND BURGUNDY. RUG IS WOVEN UNEVENLY AND SIDES ARE NOT STRAIGHT. RUG HAS A FEW SMALL HOLES. ENDS OF RUG HAVE WHITE COTTON STRING FRINGE THAT IS BADLY WORN SHORT. ALSO HAS A FEW SMALL STAINS.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
History
RUGS WERE WOVEN ON HAND LOOM (P19940007001-GA) OWNED BY DONOR'S FATHER. RUGS DATE FROM THE 1930'S. RAGS USED FOR RUG WERE RECYCLED STRIPS OF GARMENTS.
Catalogue Number
P19940007002
Acquisition Date
1994-01
Collection
Museum
Less detail

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