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6950 records – page 1 of 348.

Date Range From
1880
Date Range To
1890
Material Type
Artifact
Materials
COTTON, LEATHER, GLASS
Catalogue Number
P20170002000
  2 images  
Material Type
Artifact
Date Range From
1880
Date Range To
1890
Materials
COTTON, LEATHER, GLASS
No. Pieces
1
Length
103.2
Width
5
Description
BEADED BELT WITH A GEOMETRIC PATTERN SET AGAINST A GREEN BEADED BACKGROUND. PATTERN ALTERNATES BETWEEN TWO MIRRORED BLACK, YELLOW, BLUE TRIANGLES WITH THEIR BASES AT EITHER WIDTH END OF THE BELT MEETING IN THE CENTER AT THEIR POINTS AND LARGE RED AND BLUE WITH A GREEN CENTERED TRIANGLES WITH THEIR BASE AT ONE WIDTH END AND THEIR POINTS EXTENDED TO THE OPPOSING END. BEADS ARE SEWN INTO A COTTON, CANVAS FABRIC. TWO ANIMAL HIDE TIES (EACH A DIFFERENT LENGTH FROM 6.2 TO 11.8) ON EACH END AT EACH CORNER OF BELT. BACK SIDE IS RAW FABRIC WITH SEAM AT CENTER CONNECTING THE TWO HALVES. ENDS ARE HEMMED WITH TIES SEWN TO THE OUTSIDE. CONDITION: SEVERE DISCOLOURATION TO FABRIC BACKING AND SEVERE WEAR TO ANIMAL HIDE TIES. MANY LOSS THREADS OVER ENTIRE SURFACE OF BACK. BEADS AND BEADING IN EXCELLENT CONDITION OVERALL.
Subjects
INDIGENOUS
Historical Association
ETHNOGRAPHIC
History
UPON THE DONATION OF THIS BELT TO THE GALT MUSEUM, THE DONOR – PATRICIA LYNCH-STAUNTON – EXPLAINED THAT THIS BELT BELONGED TO ALFRED HARDWICH LYNCH-STAUNTON, WHO SERVED IN THE ROYAL CANADIAN MOUNTED POLICE IN FORT MACLEOD. HE RANCHED IN THE LUNDBRECK AREA AND SUPPLIED HORSES TO THE MOUNTIES. THE DONOR SAID THAT SHE HAD “NO KNOWLEDGE OF HOW [ALFRED HARDWICK] CAME INTO POSSESSION OF THE BELT. A NOTE ON THE INITIAL DOCUMENTATION ATTRIBUTES THE DATE OF THIS BELT TO CA. 1880-1890. THE ACTING CURATOR OF THE NATIVE NORTH AMERICAN DEPARTMENT OF THE GLENBOW, JOANNE SCHMIDT, AGREED WITH THE DONOR’S BELIEF THAT THE BELT WAS BLACKFOOT. THROUGH THE COMPARISON OF THE BEADED MOCCASINS AND BELTS IN THE GLENBOW’S COLLECTION WITH THIS BELT, SCHMIDT EXPLAINED THAT THE DESIGN ON THE BELT WAS MOSTLY FOUND ON THOSE FROM SIKSIKA, BUT SHE HAS ALSO SEEN THE DESIGN IN PIIKANI AND KAINAI BEADWORK THOUGH THERE ARE NOT MANY EXAMPLES IN THE COLLECTION. ALSO BY USING THE GLENBOW’S COLLECTION AS A POINT OF REFERENCE, THE CURATOR BELIEVES THAT THE BELT IS SIMILAR TO APPEARANCE TO THOSE OF THE CENTURY TO EARLY 20TH-CENTURY MUSEUM HOLDINGS. SCHMIDT ALSO PROVIDED AN EXPLANATION OF THE DESIGN FROM THE CANADIAN MUSEUM OF HISTORY. IT STATES, “ONE OF THE EARLIEST DESIGNES USED WAS ‘MIISTA-TSIKA-TUKSIIN,’ OR MOUNTAIN DESIGN. OTHER DESIGNS INCLUDED SQUARES, DIAMONDS, BARS, SLOTTED BARS AND STRIPES… TODAY SUCH DESIGNS ARE CALLED ‘MAAH-TOOHM-MOOWA-KA-NA-SKSIN,’ OR FIRST DESIGNS.” IT WAS FURTHER EXPLAINED THAT A COMPLICATING FACTOR IN IDENTIFYING THE BELT’S ORIGINS IS THE FACT THAT THE BLACKFOOT TENDED TO USE WHITE OR BLUE AS THE BACKGROUND COLOUR, NOT GREEN AS IS PRESENTED IN THE LYNCH-STAUNTON DONATION. ON 19 JANUARY 2017, MUSEUM STAFF FURTHER CONSULTED WITH RYAN HEAVY HEAD, FORMER DIRECTOR OF KAINAI STUDIES AT RED CROW COMMUNITY COLLEGE, REGARDING THE BELT’S DESIGN. HE EXPLAINED, “THE GREEN BACKGROUND IS ATYPICAL OF BLACKFOOT BEADWORK, WHICH IS NORMALLY BLUE. THE ‘MOUNTAIN DESIGN’ [DISPLAYED ON THE BELT] IS A COMMON MOTIF IN BLACKFOOT BEADWORK, BUT AGAIN THE COLOURS ARE NOT TYPICAL IN THIS EXAMPLE.” RYAN SPECULATED THAT DURING THE TIME OF DISEASE (WHEN THIS BELT APPEARS TO HAVE ORIGINATED) THERE WAS SOME DISRUPTION IN TRADITIONAL LIFE AND THAT COULD BE REFLECTED IN THE COLOUR CHOICES. ALTERNATIVELY, THE BELT MAY HAVE BEEN MADE BY THE GROS VENTRES FROM NORTHEAST MONTANA. THE DONOR, PATRICIA LYNCH-STAUNTON, IS THE GREAT-GRANDDAUGHTER OF ALFRED HARDWICK LYNCH-STAUNTON. THIS BELT WAS PASSED DOWN THROUGH THE FAMILY, FIRST FROM A. H. LYNCH-STAUNTON, THEN TO THE DONOR’S GRANDFATHER, F. C. LYNCH-STAUNTON, THEN TO HER FATHER, A. G. LYNCH-STAUNTON, FINALLY TO THE DONOR WHO BROUGHT IT TO THE MUSEUM. THE FOLLOWING INFORMATION COMES FROM THE “A. H. LYNCH-STAUNTON FAMILY HISTORY” WRITTEN FOR THE MUSEUM USING ONLINE SOURCES, THE GLENBOW ARCHIVES, AND THE BOOK TITLED “HISTORY OF THE EARLY DAYS OF PINCHER CREEK AND SOUTHERN MOUNTAINS OF ALBERTA.” “ALFRED HARDWICK LYNCH-STAUNTON (1860-1932) WAS BORN IN HAMILTON, ON AND CAME TO FORT MACLEOD IN 1877 TO JOIN THE NWMP. ACCORDING TO THE PINCHER CREEK HISTORICAL SOCIETY, HE WAS SENT TO ESTABLISH A HORSE BREEDING FARM AT PINCHER CREEK IN 1878. AFTER RETIRING FROM THE NWMP IN 1880, LYNCH-STAUNTON STATED THE FIRST CATTLE RANCH IN THE PINCHER CREEK AREA WITH JAMES BRUNEAU AND ISSAC MAY, AND LATER HOMESTEADED WEST OF TOWN. ALONG WITH HIS RANCH, LYNCH-STAUNTON MARRIED SARAH MARY BLAKE (1864-1933) IN 1890 AND THEY HAVE FIVE CHILDREN: VICTORIA, FRANDA, FRANCIS, JOHN, AND D’ARCY… A.H.’S BROTHER RICHARD LYNCH-STAUNTON (1867-1961) CAME AS FAR WEST AS MEDICINE HAT IN 1883 WITH HIS FATHER, F. H. LYNCH-STAUNTON, WHO WAS IN CHARGE OF THE SURVEY PARTY. RICHARD CAME WEST AGAIN, TO PINCHER CREEK, IN 1885 OR 1886. IN ABOUT 1900, HE ACQUIRED LAND NORTH OF LUNDBRECK, ON TODD CREEEK, WHICH BECAME THE ANTELOPE BUTTE RANCH. RICHARD AND A. H. WERE IN PARTNERSHIP FOR A NUMBER OF YEARS IN CATTLE-RANCHING AND, ACCORDING TO THE DONOR, WITH THE BUTCHER SHOP. IN 1901, RICHARD MARRIED ISABELLE MARY WILSON (1868-1971), AND THEIR SON FRANK LYNCH-STAUNTON (1905-1990), ALBERTA’S 11TH LIEUTENANT GOVERNOR FROM 1979 TO 1985. LYNCH-STAUNTON DESCENDANTS CONTINUE TO RANCH IN THE LUNDBRECK/PINCHER CREEK AREA.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING CORRESPONDENCE WITH DONOR AND PEOPLE CITED IN ABOVE HISTORY.
Catalogue Number
P20170002000
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
IRON, LEATHER, STEEL
Catalogue Number
P20160020000
  1 image  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
IRON, LEATHER, STEEL
No. Pieces
2
Length
15.5
Width
9.1
Diameter
12.2
Description
METAL COW BELL WITH LEATHER STRAP. BELL IS MADE UP OF 2 PIECES OF METAL FUSED TOGETHER AT SIDES WITH TWO NAILS IN EACH SEAM. TOP IS FOLDED TOGETHER WITH THE ENDS FUSED DOWN THE SIDE IN A TRIANGULAR FOLD. FRONT AND BACK OF BELL ARE RELATIVELY FLAT, COMING OUT SLIGHTLY AT EDGE. WELDING OF BELL IS CRUDE. INSIDE OF THE BELL IS THE CLAPPER WITH A BALL END THAT IS 10.5 CM IN CIRCUMFERENCE. BALL IS ATTACHED TO A ROD THAT IS HOOKED TO THE LOOP INSIDE THE TOP OF BELL. FLAT METAL LOOP AT TOP OF BELL ATTACHING THE BELL TO LEATHER STRAP THAT IS 109.4 CM IN LENGTH AND 2.4 CM IN WIDTH. 9 HOLES PUNCHED IN LEATHER FOR STRAP ADJUSTMENT WITH THE BUCKLE GOING THROUGH THE 10TH HOLE PUNCH. STANDARD METAL BUCKLE WITH LEATHER BELT LOOP FOR THE EXCESS LENGTH OF STRAP. FAIR CONDITION: METAL SEVERELY RUSTED IN COLOUR. AT ONE SEAM NEAR THE BASE, THE METAL HAS OXIDIZED TO A GREEN COLOUR. INSIDE OF BELL METAL SURFACE HAS LOST SHINE AND IS RUSTY. STRAP IS SEVERELY WORN AND HAS SCRATCHES AND LOSS OF FINISH OVERALL. END OF THE STRAP OPPOSITE OF BUCKLE IS TORN OFF.
Subjects
ANIMAL HUSBANDRY T&E
Historical Association
AGRICULTURE
History
ON 14 JULY, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, ELLENNOR PORTER, AND HER DAUGHTER, KAREN PORTER AT THE GALT MUSEUM. THE FOLLOWING INFORMATION COMES FROM THAT INTERVIEW. ELLENNOR’S HUSBAND WAS ROBERT MICHAEL “MICK” PORTER. HE FOUND THE BELL AS ELLENNOR REMEMBERS, “[I REMEMBER] HIM BRINGING IT IN THE HOUSE… I DON’T KNOW JUST HOW LONG AGO… [AND SAYING], ‘LOOK WHAT I GOT.’ THEN IT JUST EVERYONE WAS SAYING, ‘WOW,’ AND PLAYING AROUND WITH IT… [AFTER THAT] IT WAS PUT IN THE BASEMENT WITH THE REST OF THE THINGS.” KAREN AND ELLENNOR BELIEVE THE BELL WOULD HAVE BEEN FOUND BY MICK IN THE 1950S OR THE 1960S. ELLENNOR CONTINUED, “[HE FOUND IT ON] THE RANCH. HE WAS OUT VISITING HIS RELATIVES OUT THERE. HE HAD AUNTS AND UNCLES ON THE BURN RANCH. HE’S PROBABLY JUST RE-VISITING THEIR PLACE THAT HAD BEEN SOLD, SO MAYBE IT CAME FROM PINCHER CREEK. IN THAT AREA ANYWAY, LUNDBRECK OR PINCHER CREEK.” “DAD WOULD GO UP SOMETIMES BY HIMSELF,” KAREN ADDED, “I DON’T THINK ANY OF US WERE WITH HIM WHEN HE CAME HOME WITH THAT. I THINK WE WERE AT HOME WHEN HE BROUGHT IT TO THE HOUSE… IT IS ALSO POSSIBLE THAT HIS FATHER AND MOTHER HAD [THE BELL] AT THEIR HOUSE AND GAVE IT TO HIM. THEY WERE FARMERS AT THE WALDRON RANCH – NOW THE WALDRON RANCH – [BUT IT] WAS THE PORTER RANCH. THEN HAD A HOUSE IN PINCHER CREEK, SO THERE IS A POSSIBILITY THAT’S ALSO WHERE HE WOULD HAVE GOTTEN IT.” THINKING BACK TO HER HUSBAND’S DAYS IN THE AREA, ELLENNOR EXPLAINED, “[MICK’S] DAD WAS AT THE PORTER/WALDRON RANCH. IT WAS JUST THE PORTER RANCH AND AFTER HE MOVED TO PINCHER, HE SOLD LIKE HIS INTEREST PART OF IT TO WALDRON, SO IT [BECAME] A PARTNERSHIP… THE WALDRON RANCH IS NEAR BLACK MOUNTAIN ON THAT ROAD, TOWARDS THE BAR-U RANCH.” WHEN ASKED ABOUT THE BELL, ELLENNOR SAID, “[THIS BELL] BRINGS BACK MEMORIES FROM WAY BACK WHEN WE USED TO LOOK FOR CATTLE BACK IN THE BUSH, AND I IMAGINE THAT’S WHAT MY HUSBAND MUST HAVE THOUGHT TOO… [IT WOULD BE] A REMEMBRANCE FROM HIS CHILDHOOD. THEY PROBABLY HAD TO BRING IN THE OLD MILK COW AND SHE WOULD BE WEARING THE BELL. THAT’S WHAT THEY DID. THEY PUT IT ON THE BIG MILK COW, SO THAT WHEN THEY WANTED THEM TO COME IN TO MILK THEY COULD FIND THEM. SOMETIMES THEY’D GO HIDE IN THE BUSH, SO THEY KEPT THE BELL ON THEM SO THEY COULD KEEP TRACK OF WHERE THEY WERE AT.” ELLENNOR FURTHER EXPLAINED, “I HAD NO CONNECTION WITH THAT BELL. WE HAD NO CATTLE. WE WERE GRAIN FARMERS.” KAREN ADDED, “MUM AND DAD ON HAD WHEAT FARMING ON [THE K-LAZY-A-RANCH] THERE WERE CATTLE THERE, BUT MUM DOESN’T REMEMBER THERE BEING CATTLE WITH BELLS ON. THEY WERE IN THE FARM YARD… THERE WERE HARDLY ANY TREES. THAT WAS THE RANCH ORIGINALLY AND LATER BECAME A WHEAT FARM. IF THEY KEPT IT AS A RANCH WITH CATTLE AND HORSES, THAT MEANT THEY COULD NEVER EVER LEAVE AND IT WAS PRETTY ISOLATED, SO OVER THE YEARS DAD TALKED THE OWNER INTO LETTING HIM COVERT IT TO WHEAT.” “THERE WAS NO BUSH [THERE FOR THE COWS] TO HIDE IN. SO NO NEED FOR A BELL!” ELLENNOR REMEMBERED. THE DONOR AND HER DAUGHTER REMEMBERED HOW MICK VALUED OBJECTS AND MEMORIES. “HIS EYES WOULD LIGHT UP [AND HE WOULD SAY], ‘LOOK WHAT WE HAVE HERE,’ [WHEN HE SAW SOMETHING ATTACHED TO A MEMORY]. HE HAD ALL KINDS OF MEMORIES OF HIS GROWING UP. SOME WERE NOT TOO HAPPY, SOME WERE VERY HAPPY, BUT HE ALWAYS REALLY LOVED COWS. IT DIDN’T MATTER WHERE WE WENT TRAVELLING IN THE WORLD…” “[HE ALWAYS] STOPPED AND TOOK SOME PICTURES. ‘OH LOOK AT THE COWS!’ HE’D SAY,” ELLENNOR JUMPED IN, COMPLETING HER DAUGHTER’S SENTENCE. “DAD TOOK THOUSANDS OF PICTURES OF COWS. FOR HIM THERE WAS A REAL CORRELATION,” KAREN FINISHED. “[THE BELL IS A TREASURE] BECAUSE IT HAS BEEN IN OUR HOME FOR SUCH A LONG TIME. WHEN DAD BROUGHT IT HOME, IN HIS PERSPECTIVE, HE WOULD HAVE THE SAME KIND OF MEMORIES MY MUM DOES OF HEARING THE COWS…I CAN REMEMBER THEM WHEN I WAS LITTLE ON THE FARM OUT BY SKIFF HEARING COW BELLS OR BEING OUT AT MY GRANDMOTHER’S FARM BY OLDS HEARING COW BELLS… [THIS BRINGS] THE MEMORY OF DAD BEING EXCITED ABOUT [THE BELL] AND TRYING TO WAKE US UP IN THE MORNING RINGING IT, IF WE WERE SLEEPING IN TOO LONG. THAT’S MORE THE MEMORY FOR US… [BUT] I WAS NEVER ON THE RANCH WHEN MY DAD WOULD HAVE FOUND [THIS SPECIFIC] BELL, SO THOSE MEMORIES AREN’T MY MEMORIES, THEY’RE MORE HIS MEMORIES. HE ALWAYS TREASURED IT, HE ALWAYS WANTED IT KEPT AND WE’D LIKE TO HONOUR THAT,” KAREN ADDED. NOTES FROM AN 2008 INTERVIEW WITH MICKEY AND ELEANOR PORTER STATE THE DONOR’S FATHER-IN-LAW, GEORGE ENGLISH PORTER, WAS BORN 1878 IN ORILLIA, ONTARIO AND DIED ON MARCH 16, 1959. HE CAME WEST FROM ONTARIO IN 1896 AT THE AGE OF SEVENTEEN. GEORGE PORTER’S FAMILY SETTLED 30 MILES NORTH OF LUNDBRECK, ON THE EASTERN SLOPES OF THE ROCKY MOUNTAINS. THE FAMILY SETTLED ON THE BLACK MOUNTAIN RANCH. GEORGE WAS ONE OF FOURTEEN CHILDREN IN THE FAMILY. HER MOTHER-IN-LAW WAS BORN IN EASTERN CANADA BEFORE MOVING TO OREGON. SHE IMMIGRATED TO CANADA WHEN SHE WAS8 YEARS OLD AND WAS RAISED ON THE BURN RANCH NORTH OF LUNDBRECK, ALBERTA. THE NOTES FURTHER STATE THE DONOR, ELLENNOR PORTER, WAS BORN IN 1922. THE OBITUARY FOR ROBERT MICHAEL “MICK” PORTER READS MICK WAS BORN ON MAY 23, 1921 IN COWLEY, ALBERTA. HE ATTENDED SCHOOL IN COWLEY AND GRADUATED HIGH SCHOOL FROM ST. MICHAEL’S CATHOLIC SCHOOL IN PINCHER CREEK. HE JOINED THE RCAF DURING WWII AND UPON AN HONOURABLE DISCHARGE AFTER A HIP INJURY, HE WORKED AS A GRAIN BUYER. HE MARRIED ELLENNOR CHRISTOFFERSEN IN OLDS, ALBERTA. LATER, HE WORKED FOR THE MCINTYRE RANCH FOR 5 YEARS. IN 1953, HE BEGAN FARMING IN THE SKIFF AREA AND RETIRED IN 1984. MICK AND ELLENNOR HAD FIVE CHILDREN: LAWNA ROBART, MICHAEL, RONALD, KAREN PORTER, AND CHRISTOPHER, WHO PASSED AWAY AS AN INFANT. MICK PASSED AWAY IN LETHBRIDGE ON SEPTEMBER 27, 2012 AT THE AGE OF 91 YEARS. AS HISTORY OF THE WALROND CATTLE RANCHE LTD. WAS PUBLISHED IN THE “CANADIAN CATTLEMEN” PUBLICATION IN MARCH OF 1946. IT STATES THE RANCH “COMPRISED ONE HUNDRED THOUSAND ACRES OF LAND SITUATED IN SOUTH-WESTERN ALBERTA. IT WAS SITUATED IN A VALLEY EXTENDING BETWEEN THE PORCUPINE HILLS AND OLD MAN RIVER FOR ABOUT 30 MILES NORTH AND SOUTH AND VARYING FROM THREE TO FIVE MILES IN WIDTH.” THE HISTORY STATES THE WALROND CATTLE RANCHE WAS FORMED IN 1883 BY SIR JOHN WALROND WALROND OF BARONET AND LORD CLINTON OF LONDON – BOTH MEN OF ENGLAND. ON JUNE 26TH, 1884, QUEEN VICTORIA GRANTED THE RANCH AN INDENTURE OF LEASE TO SIR WALROND, BARONET. (THE TEXT OF THAT LEASE AGREEMENT WAS PRODUCED AS PART OF THE CATTLEMEN PUBLICATION AND IS ATTACHED TO THE ARTIFACT’S PERMANENT RECORD.) ACCORDING TO THE ARTICLE, THE FIRST PURCHASE OF CATTLE WAS IN 1883 – 3,125 HEAD FOR $100,000. IN 1897, THE COMPANY WAS INCORPORATED UNDER THE CANADIAN JOINT STOCK COMPANIES ACT, MOVING ITS HEAD OFFICE FROM LONDON, ENGLAND. DUNCAN MCEACHRAN WAS APPOINTED PRESIDENT AND GENERAL MANAGER OF THE RANCH AND DAVID WARNOCK FROM GLASGOW BECAME THE LOCAL MANAGER. AT THE TIME OF THIS TRANSITION, IT IS BELIEVED THE RANCH HAD GROWN TO 12,311, THOUGH THIS WAS A MERE ESTIMATE. MCEACHRAN WAS INVOLVED WITH THE COMPANY FROM ITS BEGINNING IN 1883, WHEN HE STARTED AS THE GENERAL MANAGER. HIS LEADERSHIP GOT THE COMPANY THROUGH “PERIODS OF DEPRESSED CONDITION.” AFTER A HARSH WINTER IN 1906-1907, THE RANCH LOST APPROXIMATELY 5,000 HEAD OF CATTLE DUE TO SEVERE TEMPERATURE CHANGES. AFTER THIS, IN THE SUMMER OF 1908, THE RANCHE “DISPOSED OF ALL ITS CATTLE TO PAT BURNS. FOLLOWING THE SALE, THE LAND OF THE WALDRON RANCHE, EXCLUDING 1,000 ACRES WAS LEASED FIRST TO W. R. HULL, THEN TO PAT BURNS. C. W. BUCHANAN WAS APPOINTED THE PRESIDENT AND GENERAL MANAGER OF THE RANCHE THAT IN 1923. MCEACHRAN PASSED AWAY IN OCTOBER 1924. ANOTHER HISTORY ON THE RANCHE WAS FOUND BY MUSEUM RESEARCHERS IN THE LETHBRIDGE HERALD. PUBLISHED ON 1 MAY 1954, THE ARTICLE READS, “AT ONE TIME THE WALROND LEASE CONSISTED OF BETWEEN 300,000 TO 400,000 ACRES OF LAND, EXTENDING FROM WHAT IS KNOWN AS STOWE TO THE NORTH FORK OF THE OLDMAN RIVER. IN THE NORTH FORK DISTRICT THE LAND WAS DIVIDED INTO FIVE BRANCHES… AT ITS PEAK IN THE SUMMER OF 1906 THE RANCH HAD 20,000 HEAD OF STOCK.” GEORGE PORTER IS LISTED IN THE HISTORY AS ONE OF THE CATTLE MEN EMPLOYED BY THE WALDRON RANCHE FROM 1883 TO 1908. ABOUT HIM, THE ARTICLE STATES, “GEORGE PORTER [WAS] A GOOD STOCKMAN, [WHO] LATER BOUGHT 12 SECTIONS OF THE COMPANY’S FREEHOLD AT ITS NORTHERN END AND ADJOINING LAND ALREADY OWNED BY HIM.” “GEORGE PORTER AND SONS HAVE SOLD THEIR RANCH AND CATTLE TO JOHN FRANCIS MILLER… THE PORTER RANCH IS ABOUT THIRTY MILES NORTH OF LUNDBRECK AND ADJOINS THE 19,000 ACRE WALDRON RANCH WHICH MR. MILLER ALSO OWNS HAVING PURCHASED IT FROM P. BURNS RANCHES LAST FEBRUARY,” THE HISTORY STATES. AN ARTICLE PUBLISHED IN THE 21 AUGUST 1953 LETHBRIDGE HERALD ANNOUNCED, “TWO OF THE LARGEST AND MOST FAMOUS RANCHES IN THE SOUTH-WESTERN ALBERTA FOOTHILLS ARE BEING OFFERED FOR SALE. THEY ARE THE WALROND AND PORTER RANCHERS, NORTH OF LUNDBRECK. THESE PROPERTIES ARE OWNED NOW BY JOHN F. MILLER OF LAS VEGAS, NEVADA… [THEY] HAVE BEEN OPERATED BY MR. MILLER’S SON, WHO TOOK OVER THE JOB SEVERAL YEARS AGO WHEN THE MILLERS BOUGHT THE WALROND FROM THE WALROND RANCHING COMPANY AND THE PORTER RANCH PROPERTY FROM GEORGE PORTER…” THE HISTORY OF GEORGE AND NORA PORTER (NEE BURN)’S MARRIAGE WAS PUBLISHED IN THE LETHBRIDGE HERALD ON JUNE 26, 1954 FOR THEIR 50TH ANNIVERSARY. THE COUPLE WERE MARRIED AT THE BURN RANCH IN JUNE 21 1904. THE COUPLE’S FOURTEEN CHILDREN WERE: MARJORIE ANDERSON, NORMAN PORTER, PHYLLIS ROBBINS, KATHLEEN HAMILTON, WINNIFRED BONERTZ, SANDY PORTER, EILEEN IRONMONGER, JEAN ALCOCK, JOSEPHINE ROBINSON, LILLIAN CHRISTIANSON, ISOBEL SINNOT, MICHAEL PORTER, LAWRENCE PORTER, AND CONNIE PORTER. PLEASE SEE PERMANENT RECORD P20080020001 FOR FURTHER INFORMATION REGARDING THE EARLY HISTORY OF THE PORTER AND BURN FAMILIES.
Catalogue Number
P20160020000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
"FRANK... DOMINION AVE. FRANK SLIDE 1903" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031001
  1 image  
Material Type
Artifact
Other Name
"FRANK... DOMINION AVE. FRANK SLIDE 1903" - IRENE MCCAUGHERTY
Date
1984
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
29.6
Length
57.8
Width
2.1
Description
“FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903” PAINTING, WATERCOLOUR/INK – LANDSCAPE (RECEDING ROAD/MOUNTIAN), “IRENE MCCAUGHERTY”, 1984. A FRAMED WATERCOLOUR WITH INK LINE DRAWING AND ACRYLIC HIGHLIGHT, UNDER A MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 4.6 CM LENGTH AND 16.5 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS A RECEDING ROAD, LINED ON BOTH SIDES WITH BUILDINGS, FIGURES LOOKING OUT THE TOP WINDOWS. IN THE BACKGROUND LIES MOUNTAINS AND A ROCKSLIDE WHILE IN THE CENTER FOREGROUND TWO FIGURES RUN ACROSS THE ROAD. THE PAINTING IS PRIMARILY GREY WASHES, PALE GREEN, BLUE, YELLOW, AND ORANGE USED IN THE BUILDINGS. IN THE BOTTOM LEFT CORNER THE PAINTING IS TITLED AND SIGNED “FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903 IRENE MCCAUGHERTY 1984” IN BLACK INK, THE WORDS “FRANK SLIDE” WRITTEN WITH A THICKER PEN. THE FRAME IS A THIN SILVER METAL WITH A WIRE HANGER ON THE BACK. THE MAT IS GREY, WITH A CUT OUT FRAME MEASURING 1.9CM WIDE AROUND THE SIGHT EDGE OF THE PAINTING. THE PAINTING HAS CREASES THROUGH ITS CENTER, LIKELY FROM BEING FOLDED IN HALF BEFORE FRAMING.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” “[THIS PAINTING OF THE] FRANK SLIDE,” MCCAUGHERTY SAID – WHILE LOOKING AT THE PAINTING TITLED, “FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903,” “[IS ONE] I’M SURPRISED DIDN’T GO SOONER, BECAUSE IT’S A PART OF HISTORY AND QUITE A WELL-KNOWN PART.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031001
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"THE ARCH, SPRING CHINOOK" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031002
  1 image  
Material Type
Artifact
Other Name
"THE ARCH, SPRING CHINOOK" - IRENE MCCAUGHERTY
Date
1989
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
36.2
Length
47.7
Width
1.8
Description
“THE ARCH SPRING CHINOOK” PAINTING, WATERCOLOUR/INK - LANDSCAPE (SNOW BALL FIGHT), “IRENE MCCAUGHERTY”, 1989. A FRAMED WATERCOLOUR WITH INK LINE DRAWING AND ACRYLIC HIGHLIGHTS, UNDER A TWO LAYERED MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 26.7 CM LENGTH AND 13.9 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS THREE HOUSES UNDERNEATH A LAYER OF SNOW, WITH FIGURES IN THE FOREGROUND CREATING SNOWMEN AND HAVING A SNOWBALL FIGHT. THE PAINTING IS PRIMARILY BARE WHITE PAPER, WITH A BLUE, GREY WASH OF THE SKY. THE THREE HOUSES ARE YELLOW, PINK, AND BLUE, THE FIGURES PRIMARILY RED AND BLACK. IN THE BOTTOM RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “THE ARCH SPRING CHINOOK IRENE MCCAUGHERTY 1989” IN BLACK INK. THE FRAME IS A THIN SILVER METAL WITH A WIRE HANGER ON THE BACK. THE TOP MAT IS WHITE, WITH A YELLOW EDGE AND THE BOTTOM MAT PALE BLUE WITH A YELLOW EDGE. THE GLASS OF THE FRAME IS SCRATCHED, ABOVE THE MAT.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” “NOW THIS IS SOMETHING,” MCCAUGHERTY EXCLAIMED AS HE LOOKED AT THE WORK TITLED, “THE ARCH SPRING CHINOOK,” “KIDS PLAYING OUT IN THE SNOW. [IT REMINDS ME OF] WHERE I WENT TO A SMALL SCHOOL. WE WENT OUTSIDE AND PLAYED IN THE SNOW. IT WAS EXPECTED THAT THAT WAS WHAT YOU WERE GOING TO DO. SCHOOLS WEREN’T THAT BIG. THIS WOULD BE GRADES ONE TO GRADE NINES IN THE SAME SCHOOL.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031002
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031003
  1 image  
Material Type
Artifact
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Date
1982
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
40.5
Length
74
Width
2.7
Description
“EASTER SUNDAY 1907” PAINTING, WATERCOLOUR/INK – LANDSCAPE (HOUSES/HORSE CARRIAGES), “IRENE E. MCCAUGHERTY”, 1982. A FRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING, UNDER A TWO LAYERED MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 53.8 CM LENGTH AND 19 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS A STREET, FRAMED BY SIDEWALKS, WITH A COLLECTION OF HOUSES IN THE BACKGROUND WITH A CHURCH WITHIN THEM. THE SCENE IS FULL OF FIGURES, MEN IN BLACK, WOMEN IN COLOURED DRESSES, AND FIVE HORSE CARRIAGES TRAVELLING THE ROAD. THE PAINTING IS PRIMARILY GREY AND GREEN-BLUE WASHES, WITH GREEN, YELLOW, BLUE, AND BROWN COLOURS IN THE LINE OF HOUSES IN THE MIDDLE. IN THE BOTTOM LEFT CORNER THE PAINTING IS TITLED AND SIGNED “EASTER SUNDAY 1907 IRENE E MCCAUGHERTY 1982” IN BLACK INK. THE WOODEN FRAME IS GREY AND A REDDISH-BROWN WITH A WIRE HANGER ON THE BACK. THE MAT MIRRORS THE COLOUR SCHEME OF THE FRAME, PALE GREY ON THE TOP LEVEL, PALE REDDISH-BROWN ON THE BOTTOM. THE TWO PIECES OF THE FRAME THAT MEET AT THE TOP RIGHT HAND CORNER ARE SPLIT FROM EACH OTHER.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” ONE WORK INCLUDED IN THE COLLECTION IS TITLED, “EASTER SUNDAY 1907.” OF THE PAINTING, MCCAUGHERTY DESCRIBED, “THIS IS AN EASTER SUNDAY [SCENE AND I IMAGINE IS TYPICAL OF] WHAT IT WAS ON THAT SUNDAY. PEOPLE DIDN’T HAVE CARS, SO IT WAS BUGGIES…” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031003
Acquisition Date
2016-09
Collection
Museum
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93658
Description Level
Item
Accession No.
201810350925
Physical Description
Color Slide
Scope and Content
View of the Edmonton All Girls Drum and Bugle Band march onto 4 Avenue South from 5 Street.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the Edmonton All Girls Drum and Bugle Band march onto 4 Avenue South from 5 Street.
Accession No.
201810350925
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93659
Description Level
Item
Accession No.
201810350926
Physical Description
Color Slide
Scope and Content
View of the Edmonton All Girls Drum and Bugle Band march onto 4 Avenue South from 5 Street.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the Edmonton All Girls Drum and Bugle Band march onto 4 Avenue South from 5 Street.
Accession No.
201810350926
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93660
Description Level
Item
Accession No.
201810350927
Physical Description
Color Slide
Scope and Content
View of the native contingent wearing traditional dress and riding horses east on 4 Avenue South.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the native contingent wearing traditional dress and riding horses east on 4 Avenue South.
Accession No.
201810350927
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93661
Description Level
Item
Accession No.
201810350928
Physical Description
Color Slide
Scope and Content
View of a stagecoach pulled by shetland ponies moves east on 4 Avenue South during the parade.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of a stagecoach pulled by shetland ponies moves east on 4 Avenue South during the parade.
Accession No.
201810350928
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93662
Description Level
Item
Accession No.
201810350929
Physical Description
Color Slide
Scope and Content
View of mounties march onto 4 Avenue South during the parade.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of mounties march onto 4 Avenue South during the parade.
Accession No.
201810350929
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93663
Description Level
Item
Accession No.
201810350930
Physical Description
Color Slide
Scope and Content
View of the parade start with flag bearers on horseback, the parade marshall's car followed by the mounties coming south on 5 Street. They will then turn the corner on 4 Avenue South and move east to 13 Street where they will turn north and head for the northside finishing up at Adams Park area.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the parade start with flag bearers on horseback, the parade marshall's car followed by the mounties coming south on 5 Street. They will then turn the corner on 4 Avenue South and move east to 13 Street where they will turn north and head for the northside finishing up at Adams Park area.
Accession No.
201810350930
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93664
Description Level
Item
Accession No.
201810350931
Physical Description
Color Slide
Scope and Content
View of the CJLH Televison cruiser advertising the 3 channels 37 and 12.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the CJLH Televison cruiser advertising the 3 channels 37 and 12.
Accession No.
201810350931
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93665
Description Level
Item
Accession No.
201810350932
Physical Description
Color Slide
Scope and Content
View of the MLA float decorated with red and white flowers and a young girl stands in the archway.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the MLA float decorated with red and white flowers and a young girl stands in the archway.
Accession No.
201810350932
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93666
Description Level
Item
Accession No.
201810350933
Physical Description
Color Slide
Scope and Content
View of a family riding in a jalopy.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of a family riding in a jalopy.
Accession No.
201810350933
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93667
Description Level
Item
Accession No.
201810350934
Physical Description
Color Slide
Scope and Content
View of a float with a teepee and and native people dressed in traditional costumes.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of a float with a teepee and and native people dressed in traditional costumes.
Accession No.
201810350934
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93668
Description Level
Item
Accession No.
201810350935
Physical Description
Color Slide
Scope and Content
View of the mounties who usually lead off the parade turn the corner from 5 Street onto 4 Avenue South.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the mounties who usually lead off the parade turn the corner from 5 Street onto 4 Avenue South.
Accession No.
201810350935
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93669
Description Level
Item
Accession No.
201810350936
Physical Description
Color Slide
Scope and Content
View of the Rossline-Warfield Trail float head east on 4 Avenue South.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the Rossline-Warfield Trail float head east on 4 Avenue South.
Accession No.
201810350936
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93670
Description Level
Item
Accession No.
201810350937
Physical Description
Color Slide
Scope and Content
View of the Lethbridge and District Old Time Pemmican Club float. The oldtimers are dressed in period costume.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of the Lethbridge and District Old Time Pemmican Club float. The oldtimers are dressed in period costume.
Accession No.
201810350937
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93671
Description Level
Item
Accession No.
201810350939
Physical Description
Color Slide
Scope and Content
View of CJOC's canoe featuring Bill Matheson and Jim Elliot.
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of CJOC's canoe featuring Bill Matheson and Jim Elliot.
Accession No.
201810350939
Collection
Archive
Images
Less detail

Lethbridge and District Parade

https://collections.galtmuseum.com/en/permalink/descriptions93672
Description Level
Item
Accession No.
201810350928
Physical Description
Color Slide
Scope and Content
View of CJOC's Blackfoot Radio Program float
  1 image  
Description Level
Item
Physical Description
Color Slide
History / Biographical
William Hasulak was a resident of Lethbridge all his life. He worked for Eaton's and retired in 1987. His passion was the outdoors and animals. He served in the Royal Canadian Air Force in World War II. He did much travelling throughout his life taking picutres of the places he'd visited in Canada, and the United States. His hobbies included photography, collecting musical records and stamps. He passed away in 1990.
Scope and Content
View of CJOC's Blackfoot Radio Program float
Accession No.
201810350928
Collection
Archive
Images
Less detail

6950 records – page 1 of 348.