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Other Name
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Material Type
Artifact
Materials
WOOD, PAINT, PAPER
Catalogue Number
P20190006002
  2 images  
Material Type
Artifact
Other Name
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Materials
WOOD, PAINT, PAPER
No. Pieces
1
Height
34.2
Length
49.3
Description
OIL ON WOOD PANEL PAINTING IN WHITE WOODEN FRAME. IMAGE OF TREES AND HOUSES IN SNOW, WITH SIDE OF BUILDING AT LEFT EDGE AND HOUSE PILLAR AT RIGHT EDGE; HOUSES WHITE WITH RED-BROWN ROOFS IN BACKGROUND, AND TREES IN FOREGROUND. SNOW COMPRISED OF BLUE AND WHITE PAINT; TREES COMPLETED IN BLACK, GREEN, BROWN AND ORANGE TONES; HOUSE PILLAR AND SIDING IN BROWN AND GREEN. PAINTING SIGNED IN RED IN LOWER LEFT CORNER “E.E. RIETHMAN”. MID-GROUND HAS BROWN FENCE BETWEEN TREES AND BUILDINGS IN BACKGROUND. FRONT OF FRAME HAS WHITE TRIM ALONG FRONT OF CANVAS, WITH GOLD TRIM ABOVE WHITE TRIM; FRAME PAINTED OFF-WHITE. BACK OF PAINTING HAS BROWN PAPER BACKING WITH TWO BLACK METAL SCREW ON UPPER LEFT AND RIGHT SIDES, WITH WHITE CORD FASTENED TO SCREWS. LEFT EDGE OF BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER “OWNED BY H. FLAIG 3279791, NF5”; BACKING HAS STAMPED TEXT IN FADED INK ALONG LOWER EDGE “GAINSBOROUGH GALLERIES, 310 – 7TH ST. SOUTH – LETHBRIDGE”. BACKING HAS WHITE PAPER LABEL AT UPPER EDGE WITH HANDWRITTEN TEXT IN BLACK INK “$20.00 /1970”; BACKING HAS PRINTED ARTICLE IN CENTER ON WHITE PAPER WITH BLACK TEXT “ERNEST E. RIETHMAN, EXHIBITION APRIL 25 – MAY 31 ORGANIZED BY THE SOUTHERN ALBERTA ART GALLERY WITH FUNDING ASSISTANCE FROM THE ALBERTA ART FOUNDATION…” WITH BIOGRAPHY ON ERNEST E. RIETHMAN BY “BRENT LAYCOCK, GUEST CURATOR” AND BLACK AND WHITE PHOTO “WATERTON LAKE, C.1958, OIL ON PANEL, 56 X 86 CM, COLLECTION OF MR. AND MRS. DON AND JUDY NILSSON, PHOTO: DON CORMAN”. PAPER BACKING HAS TEARS BESIDE SCREWS; BACKING HAS YELLOWED MASKING TAPE ALONG LOWER EDGE OF PAPER ARTICLE; ARTICLE EDGES STAINED YELLOW FROM ADHESIVE RESIDUE. BACK OF FRAME HAS PAIRS OF METAL NAILS IN UPPER AND LOWER LEFT AND RIGHT CORNERS, WITH NAILS HEADS COVERED WITH BROWN PAINT. BACK OF FRAME IS STAINED AND CHIPPED AT EDGES AND CORNERS; FRONT OF FRAME HAS BROWN AND WHITE STAINING ALONG EDGES; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “ “VIEW FROM THE PORCH” WOULD HAVE BEEN UP IN THE HOUSE FOR QUITE A WHILE. THAT’S VERY FAMILIAR TO ME. IT’S CERTAINLY THE STYLE OF [ART] THAT THEY WOULD DO. MOM WAS ALWAYS MENTIONING THE OIL. IT’S THE KIND OF [ART] THEY WOULD HAVE DONE, THAT THEY WOULD HAVE LIKED.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007.ERNEST EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
P20190006002
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
METAL, GLASS, PAPER
Catalogue Number
P20190006003
  2 images  
Material Type
Artifact
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Materials
METAL, GLASS, PAPER
No. Pieces
1
Length
42.7
Width
51.3
Description
PENCIL SKETCH ON PAPER INSIDE FRAME WITH METAL EDGES AND GLASS COVERING. SKETCH OF A SMALL CHILD ASLEEP HOLDING A DOLL, WITH A REVOLVER BESIDE THE DOLL. SKETCH UNSIGNED, ATTRIBUTED TO E.E. RIETHMAN. SKETCH INSIDE WHITE MATTE WITH BLACK INNER TRIM, WITH GLASS FRONT TO FRAME. FRAME SILVER METAL WITH FLORAL PATTERNED TRIM AROUND INSIDE. BACK OF FRAME HAS BROWN PAPER BACKING WITH SILVER LOOP-SCREW AT LEFT AND RIGHT EDGES, WITH SILVER METAL WIRES ATTACTED TO SCREWS. BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER AT UPPER LEFT CORNER “BY E. RIETHMAN” AND HANDWRITTEN TEXT IN BLACK MARKER AT LOWER-MIDDLE “OWNED BY H. FLAIG, 3279791, NF5.”. LOWER EDGE OF BACKING HAS WHITE LABEL WITH BLACK PRINTED TEXT “M.G.M. WALL DÉCOR, 317 – 4TH ST. SOUTH, LETHBRIDGE, AB, 328-0923” AND HANDWRITTEN TEXT IN BLACK INK ON LABEL “$120.00”. BACKING HAS FOLDED CORNER IN UPPER LEFT CORNER, AND TEAR IN PAPER AT LOWER RIGHT CORNER. FRONT OF SKETCH HAS GREEN STAINING AT RIGHT EDGE, BLUE-GREY STAIN AT LOWER LEFT EDGE, AND GREY STAINS ON LEFT AND RIGHT SIDES OF IMAGE. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE SKETCH BY ERNEST RIETHMAN, FLAIG RECALLED, ““THE BOY AND THE TEDDY BEAR”, I WONDER IF MOM DIDN’T HAVE THAT BECAUSE SHE WAS THINKING OF ME. IT LOOKS A LITTLE BIT LIKE I MIGHT HAVE LOOKED, AS A KID, AND I WOULD HAVE BEEN VERY YOUNG AT THAT TIME I THINK THIS ONE WAS DONE.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007.ERNEST EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
P20190006003
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
2018
Material Type
Artifact
Materials
METAL, PLASTIC
Catalogue Number
P20180016001
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
2018
Materials
METAL, PLASTIC
No. Pieces
1
Height
127
Length
40.8
Width
11.5
Description
SINGLE-SPACE DUPLEX PARKING METER WITH AN ELECTRONIC MECHANISM. THE METER CASING IS GREY FEATURING TWO GREEN DOMES IN THE SHAPE OF MICKEY MOUSE EARS. THE METERS ARE LABELED “30-61” AND “30-62” ON THE FRONT AND ATTACH TO A HOLLOW, METAL POLE. A STICKER NEAR THE BOTTOM OF THE CASING READS “THIS CAR – INSERT VALID COINS ONLY – DISPLAY INDICATES TIME PURCHASED – CITY OF LETHBRIDGE – THIS CAR.” BOTH METERS HAVE A COIN SLOT AND A LABEL WHICH SAYS “FREE PARKING – WEEKDAYS AFTER 5:30 PM – ALL DAY WEEKENDS AND HOLIDAYS.” THE DIGITAL METERS ARE VISIBLE AT THE TOP OF THE HOUSING, BEHIND SEMI-TRANSPARENT PLASTIC. ON EITHER SIDE OF THE METER'S TIME DISPLAY, THE WORDS “MACKAY" AND "GUARDIAN” ARE INSCRIBED VERTICALLY. A METAL PLATE FASTENS TO THE REAR, AND TWO KEYHOLES PROTRUDE ABOVE IT. THROUGHOUT, THERE ARE MANY SCRATCHES AND PAINT CHIPS. OVERALL GOOD CONDITION.
Subjects
REGULATIVE & PROTECTIVE T&E
Historical Association
TRANSPORTATION
History
ON JULY 4TH, 2018, THE CITY OF LETHBRIDGE REMOVED THIS PARKING METER FROM THE 300 BLOCK OF 3RD STREET SOUTH AND DONATED IT TO THE GALT MUSEUM AND ARCHIVES. ALL OF THE COIN-OPERATED PARKING METERS IN LETHBRIDGE’S DOWNTOWN CORE HAVE SINCE BEEN REMOVED AND REPLACED WITH MULTI-SPACE PARKING KIOSKS. IN DECEMBER 2015, THE CITY OF LETHBRIDGE HOSTED AN INFORMATIONAL SESSION INFORMING LETHBRIDGE RESIDENTS ABOUT AN IMPENDING UPGRADE TO THE DOWNTOWN PARKING SYSTEM. VAL FELLGER WAS THE 2015 INITIATIVE’S PARKING COORDINATOR. FELLGER OUTLINED REASONS FOR UPDATING THE EXISTING PARKING SYSTEM IN A 2018 CITY OF LETHBRIDGE MEDIA RELEASE. THE ANNOUNCEMENT SAYS, “THE PRIMARY OBJECTIVE OF PAID AND TIME ZONED PARKING IN DOWNTOWN LETHBRIDGE IS TO ACHIEVE PARKING TURNOVER WHICH RESULTS IN EQUITABLE AVAILABILITY OF PARKING TO SHOPPERS AND VISITORS TO DOWNTOWN…THERE ARE CURRENTLY A LITTLE OVER 1500 PARKING METERS IN THE DOWNTOWN. APPROXIMATELY 95 PERCENT OF THE PARKING METER INFRASTRUCTURE, PARKING METER HOUSINGS AND SUPPORT POLES ARE GREATER THAN 25 YEARS OLD. THESE HOUSINGS AND POLES ARE STARTING TO SHOW SIGNS OF WEAR AND LOOK UNKEMPT. MANY OF THE METERS CANNOT BE REPROGRAMMED TO ACCEPT NEW COINS OR OTHER PAYMENT OPTIONS.” THE CITY PONDERED THREE OPTIONS FOR THE IMPROVED SYSTEM: 100 PERCENT SINGLE-SPACE METERS WITH FOOT PATROL ENFORCEMENT, 100 PERCENT PAY-BY-PLATE MULTI-SPACE SMART MACHINES WITH MOBILE LICENSE PLATE RECOGNITION ENFORCEMENT, AND A HYBRID SYSTEM COMPRISED OF PAY-BY-PLATE MACHINES WITH MOBILE LICENSE PLATE RECOGNITION ENFORCEMENT AND IN ISOLATED LOCATIONS, INCLUDING BARRIER-FREE PARKING STALLS, SINGLE-SPACE SMART METERS WITH FOOT PATROL ENFORCEMENT. IN THE DOWNTOWN PARKING METER REPLACEMENT PROJECT STAKEHOLDER & PUBLIC ENGAGEMENT REPORT, 80 PERCENT OF THE PUBLIC SELECTED THE HYBRID SYSTEM. IN AUGUST 2017, THE CITY CHOSE A VENDOR, AND BY JUNE 2018 THE NEW SYSTEM WAS UP AND RUNNING. AS A RESULT, 1526 COIN-OPERATED PARKING METERS WERE REMOVED FROM DOWNTOWN STREETS AND 170 MULTI-SPACE KIOSKS WERE INSTALLED. IN A CITY OF LETHBRIDGE MEDIA RELEASE FROM MAY 28, 2018, MAYOR CHRIS SPEARMAN SAYS, “THIS IS ANOTHER SIGN OF HOW OUR CITY IS GROWING UP. WE TALK A LOT ABOUT THE IMPORTANCE OF BEING A “SMART CITY” AND USING TECHNOLOGY TO MAKE US MORE EFFICIENT. THAT’S WHAT THIS NEW SYSTEM DOES.” FELLGER ADDED, “THE KIOSKS ARE SOLAR POWERED MAKING THEM MORE COST EFFECTIVE AND ENVIRONMENTALLY FRIENDLY TO OPERATE THAN THE PREVIOUS PARKING METERS THAT USED AA BATTERIES.” ON DECEMBER 12, 2018, KEVIN MACLEAN INTERVIEWED THE CITY OF LETHBRIDGE’S ACTING PARKING COORDINATOR PHILLIP BERG. BERG ASSISTED FELLGER WITH THE PLANNING OF THE NEW PARKING SYSTEM. CONCERNING THE ROLLOUT OF THE METER REPLACEMENT PROJECT, BERG SAID, “IT WAS PRETTY HECTIC. PEOPLE WERE STILL A LITTLE RESISTANT TO CHANGE. WE HAD CONDITIONED PEOPLE TO A PARKING STYLE FOR THE LAST 50 TO 60 YEARS, AND IN ONE NIGHT WE CHANGED EVERYTHING OVER. SO THERE WAS A LOT OF RESISTANCE.” TO DEAL WITH THE RESISTANCE, BERG KEPT AN OPEN DIALOGUE WITH THE PUBLIC. “THERE WERE TIMES THAT MY PHONE DIDN’T STOP RINGING FOR DAYS, BUT WE’VE MADE A LOT OF CHANGES TO SCREEN DISPLAY AND SIGNAGE. [WE’VE DONE] EVERYTHING WE CAN POSSIBLY DO TO FACILITATE THE BEST PARKING MANAGEMENT STRATEGY WE CAN.” PRIOR TO THE PROJECT, BERG WORKED CLOSELY WITH THE COIN-OPERATED PARKING METERS AS LETHBRIDGE’S PARKING AND TRAFFIC TECHNICIAN. HE SAID, “I DID ALL THE REPAIRS, MAINTENANCE, AND PROGRAMMING THAT HAPPENED WITH THESE SINGLE-SPACE METERS FOR THE LAST EIGHT YEARS. ANYTHING FROM RE-BUILDING HOUSINGS [TO] PUTTING THEM TOGETHER FROM DIFFERENT PIECES TO RE-PROGRAMMING THEM…THEY WERE BROKEN. THERE WAS A LOT OF PIECES THAT WERE ‘FRANKENSTEINED’ TOGETHER TO ALLOW THE METERS TO FUNCTION. THERE WERE TIMES THAT I WAS TAKING AND GRINDING DOWN PARTS TO MAKE THEM WORK. WHEN I FIRST STARTED, I CALLED THE MANUFACTURER OF THE HOUSINGS [AND ASKED TO ORDER PARTS]. THEY LAUGHED AT ME AND [SENT ME EVERYTHING THEY HAD LEFT FOR FREE]. I GOT ALL THESE OLD DUSTY BOXES WITH PIECES WRAPPED IN NEWSPAPER, AND I WOULD BUILD WHATEVER I COULD TO GET THEM OUT ON THE STREET.” BEFORE BERG, LARRY WYROSTOK WAS THE PARKING AND TRAFFIC TECHNICIAN FOR SEVEN YEARS, AND MACLEAN INTERVIEWED HIM ON DECEMBER 20, 2018. WYROSTOK SUGGESTED THAT THE TWO MAIN REASONS THAT THE PARKING METERS BROKE DOWN WERE THEIR AGE AND VANDALISM. REGARDING VANDALISM, HE SAID, “WE USED TO HAVE QUITE A BIT. [ONE TIME I WAS DRIVING BY THE COURT HOUSE] AND SOMEONE USED A ROLL OF DUCK-TAPE ON A METER, [AND] THEY JUST COVERED UP THE WHOLE THING. IT WAS PROBABLY TWO OR THREE INCHES THICK, JUST SO THAT THEY DIDN’T HAVE TO PLUG IT. I TOOK ALL THE DUCK-TAPE OFF, AND THE METER SEEMED TO WORK FINE. YOU SEE ALL KINDS OF STUFF [ON THE STREET.]” WYROSTOK SUGGESTED THAT ANOTHER ASPECT OF THE JOB WAS COLLECTING THE COINS FROM THE METERS. HE SAID, “[I SPENT] A COUPLE OF DAYS A WEEK COLLECTING IN ALL KINDS OF WEATHER; RAIN, SLEET, AND SNOW. I CAN REMEMBER [DAYS THAT WERE] 35 DEGREES BELOW. [I WOULD PUT MY] METER KEY IN THE VAULT DOOR, AND IT WOULDN’T OPEN. IT WAS FROZEN SHUT. [SO I WOULD TAKE] A RUBBER MALLET AND GIVE THE [VAULT DOOR] A LITTLE TAP AND THEN [I WOULD] SPRAY SOME ETHER ON IT. IT COULD BE QUITE TEDIOUS BECAUSE [I HAD] 1500 METERS TO COLLECT FROM.” LIKE PARKING AND TRAFFIC TECHNICIANS, PARKING COMMISSIONAIRES ALSO HAD TO WORK IN ALL KINDS OF CONDITIONS. ON DECEMBER 18, 2018, MACLEAN INTERVIEWED RETIRED PARKING COMMISSIONAIRE, MAVIS BASTIE ABOUT HER TIME WORKING WITH THE PARKING METERS IN LETHBRIDGE’S DOWNTOWN CORE. BASTIE MOVED FROM HALIFAX, NOVA SCOTIA TO LETHBRIDGE, ALBERTA IN 1993. SHE SAID, “WHEN I ARRIVED HERE THE VERY FIRST THING I DID THAT WEEK WAS GO OVER TO THE CORPS OF COMMISSIONAIRES HERE IN LETHBRIDGE AND SAID THAT I WANTED TO BECOME A COMMISSIONAIRE. I WAS IMMEDIATELY GIVEN A JOB, AND THAT JOB HAPPENED TO BE GOING OUT AND DOING PARKING, WHICH MEANT WALKING THE STREETS…WALKING THE STREETS WAS DOING THE METERS AND CHECKING VEHICLES.” BASTIE WORKED AS A PARKING COMMISSIONAIRE FOR APPROXIMATELY TEN YEARS. DURING HER INTERVIEW, SHE EXPLAINED THAT THERE WERE FOUR PARKING BEATS WITHIN LETHBRIDGE, “THE FIRST ROUTE WAS MAINLY WALKING AROUND AND DOING THE TICKETING OF THE CARS THAT WERE AT METERS THAT WERE EXPIRED...BEAT ONE WAS DOWNTOWN, AND IT CAME OUT OF THE OLD POLICE STATION [TO THIRD AVENUE]…THIRD AVENUE BECAME BEAT TWO AND THEN BEAT THREE WAS A DRIVING [AND WALKING] AREA…BEAT THREE WOULD BE MORE OVER TOWARDS THE HOSPITAL…BEAT FOUR WAS JUST THE DRIVING, THAT MEANT DRIVING AROUND THE HOSPITAL.” BASTIE SUGGESTED THAT ONE OF THE BUSIEST TIMES OF YEAR TO BE A PARKING COMMISSIONAIRE WAS DURING THE WHOOP-UP DAYS PARADE, “YOU’RE JOB IS TO MAKE SURE THAT PEOPLE REALIZE THAT JUST BECAUSE IT’S WHOOP-UP DAYS DOESN’T MEAN THAT THEY CAN GET AWAY WITH [PARKING ILLEGALLY]. YOU STILL HAVE TO PLUG THE METERS. IF THAT METER EXPIRES AND YOU DON’T MOVE YOUR VEHICLE YOU GET A TICKET.” BASTIE WAS THE ONLY FEMALE PARKING COMMISSIONAIRE IN LETHBRIDGE DURING THE 1990S. SHE SUGGESTED THAT DUE TO THIS SHE RECEIVED SUPPORT FROM HER COLLEAGUES AND THE LETHBRIDGE POLICE DEPARTMENT, “[IF SOMEONE WAS HARASSING ME] I JUST HAD TO PICK UP THE RADIO… THEY WERE THERE FOR YOU, AND I KNEW THAT NOBODY WOULD EVER HURT ME. THEY WOULDN’T DARE. IT WASN’T BECAUSE I COULDN’T TAKE THEM ON, BUT IT WAS BECAUSE THESE GUYS [WERE LOOKING OUT FOR ME]…YOU’VE ALWAYS GOT THE POLICE DEPARTMENT THERE BEHIND YOU, AND I HONESTLY HAVE TO SAY THAT WHEN I WORKED FOR THE CORP BACK IN THOSE YEARS, WE HAD THE MOST SENSATIONAL POLICE OFFICERS THAT I HAVE EVER HAD ANYTHING TO DO WITH.” FOR BASTIE THE BEST PART OF BEING A PARKING COMMISSIONAIRE WAS WORKING WITH THE PUBLIC. SHE SAID, “[WORKING PARKING WAS] A GREAT OPPORTUNITY TO GET TO KNOW PEOPLE...[IT] WAS SOMETHING THAT I NEVER EXPECTED AND I DON’T THINK PEOPLE THINK OF WHEN THEY THINK OF PARKING… [I GOT TO] ASSOCIATE WITH SO MANY PEOPLE, AND IF [I SHOWED] THEM RESPECT THEY [SHOWED ME] RESPECT BACK…I FOUND YOU HAD TO HAVE A GOOD RAPPORT WITH THE BUSINESS OWNERS BECAUSE THE BUSINESS OWNERS APPRECIATED YOU. IF YOU NEEDED HELP, THEY WERE THERE FOR YOU. IF THEY NEEDED HELP, YOU WERE THERE FOR THEM.” OVERALL, BASTIE ENJOYED HER TIME WORKING AS A PARKING COMMISSIONAIRE. SHE SAID, “WHEN I WORKED THE METERS, I LOVED IT. I ENJOYED WORKING PARKING AND EVERYTHING [THAT] IT INCLUDED…IF I HAD MY LIFE TO LIVE OVER, WOULD I DO IT [AGAIN]? DARN RIGHTS I WOULD.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES, CITY OF LETHBRIDGE MEDIA RELEASES, AND FULL INTERVIEW TRANSCRIPTIONS.
Catalogue Number
P20180016001
Acquisition Date
2018-07
Collection
Museum
Images
Less detail
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Material Type
Artifact
Materials
PLYWOOD, PAINT
Catalogue Number
P20110031021
  2 images  
Material Type
Artifact
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Materials
PLYWOOD, PAINT
No. Pieces
5
Height
303.5
Length
114.3
Description
STAGE PERFORMANCE BORDER, IN FIVE PANEL PIECES. .001 TOP CENTRE PANEL. RECTANGULAR. VERY THIN PLYWOOD. GREEN BACKGROUND WITH PINK/RED FLOWERS. TWO FLAGS IN THE CENTRE: THE KUOMINTANG/NATIONAL LEAGUE FLAG IS ON THE LEFT (NAVY BLUE WITH A GOLDEN YELLOW SUN IN THE MIDDLE) AND THE FLAG OF THE REPUBLIC OF CHINA IS ON THE RIGHT (RED BODY, WITH A NAVY BLUE RECTANGLE IN THE TOP LEFT CORNER AND A GOLDEN YELLOW SUN IN THE MIDDLE OF THIS NAVY SECTION). BETWEEN THE FLAGS IS A NAVY BLUE, ROUGHLY OCTAGON SHAPE, WITH ANOTHER GOLDEN YELLOW SUN IN THE CENTRE. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. ON THE FAR RIGHT SIDE OF THE PANEL IS A SMALL RECTANGULAR PIECE, ATTACHED WITH WIRE, ROUGHLY 19CM X 7.6CM. PANEL IS 241.6CM X 47.6CM POOR TO FAIR CONDITION. PANEL IS WELL WORN, THE COLOURS ARE FADED, AND THE PAINT IS CHIPPED IN SEVERAL SPOTS. .002 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE RIGHT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. A SMALL PINK/RED FLOWER ON A GREEN VINE IS VISIBLE ON THE COLUMN. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 200.7CM X 56.2CM POOR TO FAIR CONDITION. PAINT SCRATCHED OFF, ESPECIALLY ON THE RIGHT SIDE OF THE GREEN FLOWER SECTION. NOT AS FADED OR AS WORN AS .001. TAPE REMNANTS IN THE GREEN SECTION TO THE RIGHT OF COLUMNS. .003 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE LEFT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 243.2CM X 55.2CM POOR TO FAIR CONDITION. TAN PAINT ALONG THE BOTTOM, OVER THE GREEN SECTION, IN SEVERAL AREAS. THE NAVY BLUE SECTION HAS A LOT OF HAIRLINE CRACKS IN THE PAINT. .004 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE LEFT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE RIGHT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR RIGHT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. IN WORSE CONDITION THAN .005. LOTS OF LITTLE HOLES, ESPECIALLY ON THE NAVY CURTAIN. LOTS OF WALL PAINT FLECKS, ESPECIALLY ON THE COLUMNS. THE BLUE VERTICAL RECTANGLE IS MORE GREEN THAN ON .005 AND THE PAINT IS VERY, VERY WORN. .005 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE RIGHT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE LEFT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. BELOW THIS BLUE RECTANGLE, ON THE NAVY CURTAIN, ARE SEVERAL CHINESE CHARACTERS ON A DIAGONAL, PAINTED ON IN RED. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR LEFT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. LOTS OF CHIPPED PAINT. PANEL IS FADED/DISCOLOURED. BOTTOM BACK IS IN ESPECIALLY POOR CONDITION AND IS VERY DIRTY.
Subjects
PUBLIC ENTERTAINMENT DEVICE
Historical Association
ASSOCIATIONS
FINE ARTS
LEISURE
History
THE FOLLOWING INFORMATION ABOUT THIS ARTIFACT COMES FROM INTERVIEWS HELD WITH MAY LEE AND JUDY CHAN, RICHARD LOO, AND HONG WONG AND JANICE WONG. PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG THEIR IMMIGRATION TO CANADA ARE FOUND BELOW THE ARTIFACT DETAILS AND BELOW THE INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY BUILDING. MAY RECALLED THAT THERE WERE OPERAS AT THE SOCIETY BUILDING, BUT THAT THEY DIDN’T COME VERY OFTEN. SHE DIDN’T RECALL ATTENDING MANY OPERAS, BUT DID REMEMBER THAT “HONG WONG WAS SINGING THERE.” RICHARD, MEANWHILE, THOUGHT THAT THE OPERAS WERE FINISHED BEFORE HE ARRIVED IN LETHBRIDGE. HE NEVER SAW AN OPERA PRODUCTION AT THE SOCIETY BUILDING, BUT DID RECALL THAT PROJECTION FILMS WERE SHOWN. RICHARD SUGGESTED “ASK HONG. HE LIKED A LITTLE BIT OF OPERA TOO … HE SANG IN STUFF LIKE THAT.” HONG INDICATED THAT THERE WAS NO OPERAS AT THE SOCIETY BUILDING WHEN HE CAME IN 1951, BUT THAT THE SOCIETY DID STAGE PRODUCTIONS AT THE UNIVERSITY. ASKED WHERE THE COSTUMES CAME FROM, HONG SAID “WE GOT THEM FROM CALGARY AT THAT TIME, WELL, ACTUALLY WE JUST BORROWED THEM. WE DIDN’T HAVE THE MONEY TO BUY THEM.” HONG CONTINUED SAYING THAT THIS STAGE PERFORMANCE BORDER WAS USED IN CONJUNCTION WITH A LARGE MURAL (SEE P20010027000) AND A STAGE. A SERIES OF ARTICLES PUBLISHED IN THE LETHBRIDGE HERALD GIVE BACKGROUND INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY AND ITS BUILDING: THE BUILDING THAT HOUSED THE CHINESE NATIONAL LEAGUE SOCIETY WAS BUILT IN 1909-1910 IN THE 300 BLOCK OF 2 AVENUE SOUTH AND IT WAS ORIGINALLY A RESTAURANT. BY 1915 IT HAD BECOME THE HEADQUARTERS FOR THE LETHBRIDGE BRANCH OF THE KAO MIN TANG (ALTERNATIVE SPELLINGS INCLUDE KUOMINTANG, KUO MIN TANG, GUOMINDANG, AND GUO MIN DANG). THE BUILDING WAS DESIGNATED AS A PROVINCIAL HERITAGE RESOURCE IN 1995 BECAUSE OF ITS VALUE AS A SOCIAL AND CULTURAL CENTRE FOR THE LETHBRIDGE CHINESE COMMUNITY. THE BUILDING WAS USED IN A VARIETY OF WAYS BY THE SOCIETY AND INCLUDED, AT VARIOUS TIMES, A RESTAURANT, A SCHOOL, AND LIVING ACCOMODATIONS. IN FEBRUARY 2011 A SECTION OF THE BRICK FAÇADE FELL OFF THE BUILDING AND CITY INSPECTORS DETERMINED THAT THE TIMBER AND RED BRICK STRUCTURE WAS POTENTIALLY UNSTABLE. THE BUILDING WAS TORN DOWN A SHORT TIME LATER. LETHBRIDGE'S CHINATOWN EMERGED IN 1901, A RESULT OF THE CHINESE POPULATION BEING RELEGATED TO A SECTION OF THE CITY BETWEEN GALT GARDENS AND THE COULEES. IN A JANUARY 7, 2002 ARTICLE ALBERT LEONG EXPLAINS THAT NO ONE REALLY WANTED CHINESE PEOPLE AROUND AND THAT “’ THEY WERE TOLD THAT THE ONLY PLACE THEY COULD START BUSINESSES WAS BETWEEN THE COULEES AT THE PARK, BECAUSE THE CITY DIDN’T WANT ANY COMPETITION FOR THE WHITE BUSINESSMEN … BUT ‘GHETTO-IZED’ OR NOT, THE CHINESE WHO CAME TO LETHBRIDGE FORMED AN IMPORTANT PART OF THE BACKBONE OF THIS CITY, [AND MADE] NOTEWORTHY [CONTRIBUTIONS] TO THE HISTORY OF THIS PLACE.’” BUSINESSES SUCH AS LAUNDRIES, MARKET GARDENS, AND RESTAURANTS WERE OPENED IN CHINATOWN, WITH THE RESIDENTS LIVING IN ROOMS ABOVE THE BUSINESSES. IN 1912 THERE WERE ABOUT 100 PEOPLE LIVING IN CHINATOWN AND BY THE 1930S, IT WAS A BUSTLING COMMUNITY. THE POPULATION OF CHINATOWN DWINDLED FOLLOWING THE SECOND WORLD WAR. JANICE WONG, PRESIDENT OF THE SOCIETY IN 2015, GAVE THE FOLLOWING INFORMATION ABOUT THE SOCIETY IN AN INTERVIEW: AS OF 2015, THE SOCIETY EXISTS MORE AS A SOCIAL CLUB AND THE SOCIETY HOLDS THREE CELEBRATORY DINNERS EACH YEAR, USUALLY HELD AT THE NEW DYNASTY RESTAURANT. THE SOCIETY ALSO VISITS THE CEMETERY ON A YEARLY BASIS “TO HONOUR THE ANCESTORS, CLEAN THE TOMBS, BRING FOOD, DO THE USUAL THINGS THAT WE USED TO DO – EAT ON GRAVES, BURN THE INCENSE. WE DO THAT EVERY YEAR STILL TO HONOUR OUR ANCESTORS. IT IS USUALLY IN THE SPRING … IN APRIL.” JANICE BRIEFLY DISCUSSED THE FUTURE OF THE SOCIETY, INDICATING THAT THERE IS SOME TALK ABOUT RE-BUILDING “BUT THAT INVOLVES A LOT OF PLANNING, AND MONEY, AND FUNDRAISING” AND SHE QUESTIONS WHETHER OR NOT THERE IS ENOUGH OF A MEMBERSHIP BASE TO GO FORWARD WITH RE-BUILDING. SHE ALSO EXPLAINED THAT PREVIOUS CHINESE IMMIGRANTS HAD TENDED TO COME FROM THE SAME GEOGRAPHIC REGION, BUT THAT PRESENTLY IMMIGRANTS ARE COMING FROM ALL OVER CHINA: “THERE’S A LOT OF INFLUX OF PEOPLE FROM CHINA THAT AREN’T FROM THE SAME AREA, BECAUSE TRADITIONALLY, THE PEOPLE WERE ALL FROM THE SAME AREA AND SPOKE THE SAME DIALECT AND HAD THAT SORT OF THING KEEPING THEM TOGETHER AS A COMMUNITY OVERSEAS FROM CHINA.” PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG AND THEIR IMMIGRATION TO CANADA ARE BELOW: MAY LEE: MAY WAS ACTUALLY BORN IN CANADA AND IS KNOWN AS A GOLD MOUNTAIN GIRL, BECAUSE SHE IS A CANADIAN-BORN CHINESE WOMAN. MAY EXPLAINS: “I WAS BORN IN CANADA. I WAS BORN IN NANOOSE BAY. WHEN I WAS 4 YEARS OLD, WE MOVED TO VICTORIA. WHEN I WAS 9 YEARS OLD AND THE WHOLE FAMILY, IN 1930, GO BACK TO CHINA.” DURING THE WAR, THE JAPANESE BOMBED THE GIRLS’ HIGH SCHOOL IN TOCSIN CITY AND MAY’S MOTHER DECIDED TO SEND MAY AND HER BROTHER TO HONG KONG TO START THE PROCESS OF COMING TO CANADA. MAY STARTED ENGLISH SCHOOL IN HONG KONG, BUT OFTEN MISSED CLASSES BECAUSE SHE WAS SICK FROM THE HEAT. SHE SAYS THAT SHE’S LEARNED MOST OF HER ENGLISH FROM HER HUSBAND, HER CHILDREN, GRANDCHILDREN, AND EVEN GREAT-GRANDCHILDREN. SHE WAS MARRIED TO HOM MEN LEE, AKA JIMMY LEE, ON NOVEMBER 16, 1938 IN VICTORIA, BC. JIMMY WAS BORN IN LETHBRIDGE AT THE GALT HOSPITAL, BUT WAS SENT BACK TO CHINA AS A CHILD FOR HIS EDUCATION. JIMMY’S FAMILY HAD COME TO LETHBRIDGE IN 1914 AND OWNED LEE-DUC CLEANERS. THE LEE FAMILY LIVED ABOVE THE SHOP, WHICH WAS ON 13TH STREET NORTH, NEAR HIGA’S JEWELERS. MAY’S MAIN MEMORY OF CHINATOWN: “ALL I REMEMBER IN CHINATOWN, IN SUMMERTIME, LOTS OF OLD GUYS SITTING IN FRONT OF GUOMINDANG. AUNTIE HELEN GREW UP IN CHINATOWN. I THINK SHE KNOWS MORE ABOUT CHINATOWN. IN THE OLDEN DAYS, I HARDLY GO OUT, JUST TO BUY GROCERIES.” JUDY ADDED THAT MAY HAD 8 CHILDREN AND WAS KEPT BUSY AT HOME RAISING THEM. RICHARD LOO: RICHARD ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. RICHARD’S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO RICHARD, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). RICHARD’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED RICHARD TO MOVE TO LETHBRIDGE AS WELL. RICHARD LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE FINALLY ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT RICHARD WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, RICHARD RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY NOTHING. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL YOU COULD SAY, JUST ANYWAYS HOW TO SAY ‘HELLO’ – SO, ANYWAY, SO IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” RICHARD INITIALLY LIVED IN THE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. RICHARD RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. HONG WONG: HONG ARRIVED IN LETHBRIDGE IN 1951 AND WAS INVITED TO THE CITY BY HIS UNCLE SHUEY WONG, WHO WAS ALREADY LIVING HERE. UNCLE SHUEY HAD COME TO CANADA SEVERAL YEARS BEFORE AND HAD HAD TO PAY THE $500 HEAD TAX. HONG TRAVELED WITH HIS BROTHER FROM MAINLAND CHINA TO HONG KONG, IN ORDER TO GO TO THE CANADIAN EMBASSY. ON HIS FERRY RIDE TO HONG KONG, HE WAS SHOT BY BANDITS AND WAS REQUIRED TO STAY IN THE HOSPITAL FOR QUITE SOME TIME TO RECOVER. HIS BROTHER ELECTED TO REMAIN IN HONG KONG, AS HIS MOTHER-IN-LAW LIVED IN THE CITY AND GOT HONG’S BROTHER WORK IN A THEATRE. TO GET TO CANADA, HONG FLEW FROM JAPAN TO GUAM, TO VANCOUVER, AND THEN FINALLY TO LETHBRIDGE. HIS FIRST IMPRESSION OF LETHBRIDGE: COLD. HONG SAID: “’WELL, IN HONG KONG IT WAS AROUND MAYBE 20 SOME 30 ABOVE. AND HERE, AT THAT TIME, MAYBE 20 BELOW, OR 20 SOME BELOW. I DIDN’T HAVE THE EAR MUFFS. I SAID, ‘GEE, I’M NOT SO HAPPY HERE, IT SEEMS SO COLD.’” UNCLE SHUEY TOLD HONG THAT IT WAS ONE OF THE COLDEST WINTERS HE COULD REMEMBER. HONG WORKED FOR HIS UNCLE IN HIS SHOP ON 9TH AVENUE, DOING CHORES AROUND THE STORE, UNTIL HIS ENGLISH HAD IMPROVED ENOUGH SO THAT HE COULD SERVE CUSTOMERS. HE JOINED THE CHINESE NATIONALIST LEAGUE SOCIETY ALMOST AS SOON AS HE ARRIVED: “WHEN I CAME HERE, I JOINED IN THE SAME YEAR BECAUSE MY UNCLE WAS A MEMBER. SO THAT’S WHY HE GOT ME IN TO BE A MEMBER. OH, AT THAT TIME, I BET, 95% OF THE CHINESE PEOPLE THEY BELONG TO THE CHINESE NATIONAL LEAGUE, I BELIEVE.” HE CONTINUED, SAYING THAT YOU COULDN’T BE A MEMBER OF BOTH THE SOCIETY AND THE MASONS, AND HE BELIEVES ABOUT 5% OF THE CITY’S CHINESE POPULATION WOULD HAVE BELONGED TO THE MASONS. HE ADDED: “BUT WE ARE STILL FRIENDS, STILL FRIENDS. WE’RE NOT ENEMY OR ANYTHING BUT, IT’S JUST THAT THE ORGANIZATIONS ARE DIFFERENT. THAT’S ALL.” HONG ENJOYED THE CAMARADERIE OF THE SOCIETY. HE SAID: “I REMEMBER, I LIKE IT BECAUSE THEY HAVE THE PARTY AND SO MANY PEOPLE. AND THEN YOU MEET ALL THE CHINESE PEOPLE THERE IN THE ONE GROUP. WELL, ANYWAY, WHEN YOU SEE SO MANY PEOPLE IN ONE PARTY, AND THEN WHEN THEY COME OUT MOSTLY THE PEOPLE THAT PARTY AND IT FEELS LIKE A LOTS OF FRIENDS OR EVEN LIKE THE FAMILY. SO YOU FEEL GOOD, YOU FEEL BETTER, AND THEN, WELL, MY UNCLE BELONGS THERE TOO AND THEN THE OTHERS BELONG THERE TOO, YEAH, EVERYBODY LIKE IN THE BIG FAMILY. YES, NICE, OTHERWISE YOU DON’T HAVE ANY FRIENDS, YOU DON’T MEET ANYBODY, IF YOU NOT BELONG THERE, I THINK NOT SO FRIENDLY TO YOU.” HONG INDICATED THAT WHEN A SPECIAL MEAL WAS HELD AT THE SOCIETY, IT WAS THE MEN WHO DID THE COOKING: “AT THAT TIME JUST ABOUT EVERYBODY KNOWS HOW TO COOK BECAUSE MOSTLY WE WORK IN THE KITCHEN WHEN THEY CAME HERE.” HE SAID THAT DINERS WOULD PAY A SMALL FEE TO EAT AT THE LEAGUE WHEN SPECIAL MEALS WERE PUT ON. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES AND FOR INTERVIEW TRANSCRIPTS.
Catalogue Number
P20110031021
Acquisition Date
2011-11
Collection
Museum
Images
Less detail
Other Name
COLUMBIA RIVER NEAR GOLDEN, BC - EDITH KIRK
Date Range From
1920
Date Range To
1935
Material Type
Artifact
Materials
PAPER, WOOD, METAL
Catalogue Number
P20150030000
  1 image  
Material Type
Artifact
Other Name
COLUMBIA RIVER NEAR GOLDEN, BC - EDITH KIRK
Date Range From
1920
Date Range To
1935
Materials
PAPER, WOOD, METAL
No. Pieces
1
Height
43.8
Length
56.5
Width
2.3
Description
WATERCOLOUR ON PAPER. WOOD FRAME, PAINTED GOLD. TAN AND MAROON MATTINGS. BEHIND GLASS. "CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE" FOREGROUND CENTRE IS A RIVER, MEANDERING THROUGH TREES ON BOTH LEFT AND RIGHT FORE/MID-GROUND. BACKGROUND IS MOUNTAINOUS. LOTS OF GREEN IN PAINTING. SIGNED "E. F. KIRK" BOTTOM LEFT CORNER. ON REVERSE OF PAINTING, ENCAPSULATED IN MYLAR AND TAPED ONTO THE BACK, IS A PIECE OF BOXBOARD, HANDWRITTEN IN BLACK IN: "COLUMBIA RIVER, FLOWING NORTH, AT GOLDEN, B.C." METAL WIRE FOR HANGING ON BACK AS WELL. EXCELLENT CONDITION. MOSTLY ONLY MINOR WEAR ON EDGES OF FRAME, HOWEVER A PIECE OF FRAME IS MISSING IN THE BOTTOM RIGHT CORNER.
Subjects
ART
Historical Association
FINE ARTS
History
THIS PAINTING WAS DONATED BY FRED ROYCROFT. IN A WRITTEN STATEMENT, PROVIDED AT THE TIME OF DONATION, ROYCROFT EXPLAINS HOW THE PAINTING CAME INTO HIS POSSESSION: "MISS KIRK GAVE MY FATHER THE PAINTING. IT HUNG IN OUR HOUSE AS LONG AS I CAN REMEMBER AND MY MOTHER GAVE IT TO ME AFTER HE DIED. I KNOW FEW DETAILS, OTHER THAN THAT DAD WAS ONE OF HER STUDENTS. HE HAD STOPPED PAINTING BY THE TIME I WAS BORN AND ONLY PAINTED ONE OTHER PICTURE, FOR A FRIEND, THAT I KNOW OF. HOWEVER, HE SKETCHED CONSTANTLY, OFTEN DOING PORTRAITS OF OTHER CUSTOMERS IN THE COFFEE SHOP HE FREQUENTED, ON NAPKINS, WHICH HE THREW AWAY." THE DONOR'S FATHER WAS REV. THOMAS WILLIAM ROYCROFT, WHO WAS MINISTER OF THE CHRISTIAN TABERNACLE, AND WHO PASSED AWAY DECEMBER 20, 1981. SEE PERMANENT FILE FOR HIS OBITUARY. ACCORDING TO "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRK", "THOMAS (TOM) W. ROYCROFT STUDIED WITH MISS KIRK FOR ABOUT FOUR YEARS (APPROXIMATELY 1926-1930) AFTER STUDYING COMMERCIAL ART AND ILLUSTRATION THROUGH A CORRESPONDENCE COURSE. TOM LEFT EVIDENCE THAT HE, TOO, COPIED MANY OF MISS KIRK'S OWN PAINTINGS. HE PAINTED, REPAIRED WATCHES, AND DID PASTORAL WORK IN THE LETHBRIDGE CHRISTIAN TABERNACLE. ALTHOUGH HE RARELY SHOWED HIS WORK PUBLICLY, THE ROYCROFT FAMILY VALUES AND ENJOYS HIS PAINTINGS." (P. 62) THE FOLLOWING BIOGRAPHICAL INFORMATION ON EDITH KIRK, THE ARTIST, WAS DEVELOPED BY GALT CURATOR WENDY AITKENS IN PREPARATION FOR THE 2015 KIRK EXHIBIT AT THE GALT MUSEUM: "FOR 35 YEARS, LETHBRIDGE WAS THE HOME OF AN ACCOMPLISHED AND WELL KNOWN ARTIST AND ART TEACHER. EDITH FANNY KIRK, OR MISS KIRK AS MOST PEOPLE CALLED HER, CREATED WATERCOLOUR LANDSCAPES OF ENGLAND, VANCOUVER, LETHBRIDGE, WATERTON, BANFF, AND JASPER. SHE TAUGHT MANY CHILDREN AND ADULTS THE SKILLS OF PAINTING. SHE ALSO SPOKE AT THE MATHESIS CLUB PRESENTING PAPERS ON THE DEVELOPMENT OF MODERN ART, THE EVOLUTION OF ART AND ART APPRECIATION. JOAN STEBBINS, PAST CURATOR AT THE SAAG, CREDITS THE INFLUENCE OF KIRK FOR THE DEVELOPMENT OF THE LETHBRIDGE SKETCH (NOW ARTISTS') CLUB IN THE 1930S. WHEN KIRK ARRIVED IN LETHBRIDGE IN 1918, SHE WAS 60 YEARS OLD. SHE WAS BORN IN 1858 AND WAS RAISED IN YORKSHIRE, ENGLAND. HER MOTHER, FANNY (NEE MAUGHAM) PASSED AWAY WHEN EDITH WAS A YOUNG GIRL AND HER FATHER REMARRIED. THE STORY, FROM SECOND HAND SOURCES, WAS THAT SHE AND HER STEP MOTHER DID NOT LIKE ONE ANOTHER. THIS PROVIDED TO BE A BLESSING IN DISGUISE BECAUSE KIRK WAS SENT AWAY TO STUDY ART AND SHE STUDIED IN SOUTH KENSINGTON, LONDON, AND PARIS. DURING HER SUMMERS SHE JOINED ARTIST'S COLONIES IN CORNWALL, WALES, AND YORKSHIRE. KIRK WROTE OF IMPRESSIONIST PAUL CEZANNE BEING HER "MODEL AND INSPIRATION" AND SHE GREATLY ADMIRED ROMANTIC ARTIST JOHN SELL COTMAN. KIRK NEVER MARRIED AND IMMIGRATED TO CANADA AT THE AGE OF 46. SHE ARRIVED IN HALIFAX ABOARD THE HMS CANADA IN APRIL 1905. THE PASSENGER LIST INDICATED SHE WAS TRAVELING ON TO VANCOUVER AND HER OCCUPATION WAS LISTED AS A GOVERNESS. IT SEEMS SHE DIDN'T STAY LONG IN VANCOUVER BUT SOON TRAVELLED TO ATLIN, B.C. TO GET TO ATLIN, KIRK WOULD HAVE TAKEN A SHIP TO SKAGWAY, THE WHITE PASS RAILWAY TO CARCROSS AND THEN AN OVERLAND AND BOAT TRIP TO ATLIN. IT IS A MYSTERY WHY SHE CHOSE TO GO TO A REMOTE GOLD RUSH TOWN IN NORTH WESTERN BRITISH COLUMBIA. BY 1911 KIRK IS BOARDING WITH THE WOODS FAMILY IN LILLOOET, B.C. NORTHWEST OF KAMLOOPS, WHERE SHE WORKED AS A PUBLIC SCHOOL TEACHER. SEVEN YEARS LATER KIRK IS IN LETHBRIDGE. IT SEEMS SHE KNEW PEOPLE LIVING IN TABER, INCLUDING DR. ALFRED HAMMAN AND HIS SISTER MRS. SYLVIA GIDMAN, WHO CAME FROM HER HOMELAND IN ENGLAND SO CHOSE TO VISIT. THE CHARM OF THE PRAIRIES AND MOUNTAIN LANDSCAPES OF SOUTHERN ALBERTA ENTICED HER TO STAY. KIRK LIVED IN THE VICTORIA MANSION AND THE TRAVELLER'S AID SOCIETY BUILDING AND SHE TAUGHT ART CLASSES AT THE YMCA FOR A FEW DOLLARS A MONTH." KIRK PASSED AWAY IN LETHBRIDGE IN 1953. FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO, "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRCK" BY WENDY AITKENS, SPECIFICALLY PAGES 60-62. ALSO SEE PERMANENT FILE.
Catalogue Number
P20150030000
Acquisition Date
2015-10
Collection
Museum
Images
Less detail
Other Name
CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE - EDITH KIRK
Date Range From
1920
Date Range To
1935
Material Type
Artifact
Materials
PAPER, WOOD, METAL
Catalogue Number
P20150019000
  1 image  
Material Type
Artifact
Other Name
CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE - EDITH KIRK
Date Range From
1920
Date Range To
1935
Materials
PAPER, WOOD, METAL
No. Pieces
1
Height
52.4
Length
42.4
Width
2.5
Description
WATERCOLOUR ON PAPER. WOOD FRAME, PAINTED GOLD. TAN/PINK AND OFF-WHITE MATTINGS. BEHIND GLASS. VERTICAL ORIENTATION. CASTLE MOUNTAIN IN BACKGROUND, ROUGHLY CENTRE. LARGE PINE TREES IN FOREGROUND RIGHT SIDE. SMALLER PINE TREES MIDGROUND LEFT SIDE. NO SIGNATURE VISIBLE. HANDWRITTEN IN PENCIL ON BACK OF FRAME: "CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE". BROWN STICKER WITH GOLD WRITING BOTTOM RIGHT CORNER: "THE FRAMEMAKERS. PHONE 329-4710 LETHBRIDGE - ALBERTA" IN EXCELLENT CONDITION. ONLY MINOR WEAR TO FRAME.
Subjects
ART
Historical Association
FINE ARTS
History
THIS PAINTING WAS DONATED BY BARB ROYCROFT. EDITH KIRK GAVE IT TO HER STUDENT, THOMAS WILLIAM ROYCROFT, (DONOR'S FATHER-IN-LAW) IN THE 1930S. ACCORDING TO "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRK", "THOMAS (TOM) W. ROYCROFT STUDIED WITH MISS KIRK FOR ABOUT FOUR YEARS (APPROXIMATELY 1926-1930) AFTER STUDYING COMMERCIAL ART AND ILLUSTRATION THROUGH A CORRESPONDENCE COURSE. TOM LEFT EVIDENCE THAT HE, TOO, COPIED MANY OF MISS KIRK'S OWN PAINTINGS. HE PAINTED, REPAIRED WATCHES, AND DID PASTORAL WORK IN THE LETHBRIDGE CHRISTIAN TABERNACLE. ALTHOUGH HE RARELY SHOWED HIS WORK PUBLICLY, THE ROYCROFT FAMILY VALUES AND ENJOYS HIS PAINTINGS." (P. 62) FURTHER IN HER BOOK "A LEGACY OF ADVENTURE AND ART", AITKENS SAYS THE FOLLOWING ON PAGE 67: "THIS IS NOT THE MOST FAMILIAR VIEWPOINT OF CASTLE MOUNTAIN IN BANFF NATIONAL PARK. MISS KIRK PAINTED THIS AS SHE SAT ALONG A PATH WHICH LEADS UP TO AN OLD FIRE LOOKOUT SITE ON THE SOUTHEAST SHOULDER OF THE MOUNTAIN AND THIS GAVE HER A UNIQUE PERSPECTIVE." THE FOLLOWING BIOGRAPHICAL INFORMATION ON EDITH KIRK, THE ARTIST, WAS DEVELOPED BY GALT CURATOR WENDY AITKENS IN PREPARATION FOR THE 2015 KIRK EXHIBIT AT THE GALT MUSEUM: "FOR 35 YEARS, LETHBRIDGE WAS THE HOME OF AN ACCOMPLISHED AND WELL KNOWN ARTIST AND ART TEACHER. EDITH FANNY KIRK, OR MISS KIRK AS MOST PEOPLE CALLED HER, CREATED WATERCOLOUR LANDSCAPES OF ENGLAND, VANCOUVER, LETHBRIDGE, WATERTON, BANFF, AND JASPER. SHE TAUGHT MANY CHILDREN AND ADULTS THE SKILLS OF PAINTING. SHE ALSO SPOKE AT THE MATHESIS CLUB PRESENTING PAPERS ON THE DEVELOPMENT OF MODERN ART, THE EVOLUTION OF ART AND ART APPRECIATION. JOAN STEBBINS, PAST CURATOR AT THE SAAG, CREDITS THE INFLUENCE OF KIRK FOR THE DEVELOPMENT OF THE LETHBRIDGE SKETCH (NOW ARTISTS') CLUB IN THE 1930S. WHEN KIRK ARRIVED IN LETHBRIDGE IN 1918, SHE WAS 60 YEARS OLD. SHE WAS BORN IN 1858 AND WAS RAISED IN YORKSHIRE, ENGLAND. HER MOTHER, FANNY (NEE MAUGHAM) PASSED AWAY WHEN EDITH WAS A YOUNG GIRL AND HER FATHER REMARRIED. THE STORY, FROM SECOND HAND SOURCES, WAS THAT SHE AND HER STEP MOTHER DID NOT LIKE ONE ANOTHER. THIS PROVIDED TO BE A BLESSING IN DISGUISE BECAUSE KIRK WAS SENT AWAY TO STUDY ART AND SHE STUDIED IN SOUTH KENSINGTON, LONDON, AND PARIS. DURING HER SUMMERS SHE JOINED ARTIST'S COLONIES IN CORNWALL, WALES, AND YORKSHIRE. KIRK WROTE OF IMPRESSIONIST PAUL CEZANNE BEING HER "MODEL AND INSPIRATION" AND SHE GREATLY ADMIRED ROMANTIC ARTIST JOHN SELL COTMAN. KIRK NEVER MARRIED AND IMMIGRATED TO CANADA AT THE AGE OF 46. SHE ARRIVED IN HALIFAX ABOARD THE HMS CANADA IN APRIL 1905. THE PASSENGER LIST INDICATED SHE WAS TRAVELING ON TO VANCOUVER AND HER OCCUPATION WAS LISTED AS A GOVERNESS. IT SEEMS SHE DIDN'T STAY LONG IN VANCOUVER BUT SOON TRAVELLED TO ATLIN, B.C. TO GET TO ATLIN, KIRK WOULD HAVE TAKEN A SHIP TO SKAGWAY, THE WHITE PASS RAILWAY TO CARCROSS AND THEN AN OVERLAND AND BOAT TRIP TO ATLIN. IT IS A MYSTERY WHY SHE CHOSE TO GO TO A REMOTE GOLD RUSH TOWN IN NORTH WESTERN BRITISH COLUMBIA. BY 1911 KIRK IS BOARDING WITH THE WOODS FAMILY IN LILLOOET, B.C. NORTHWEST OF KAMLOOPS, WHERE SHE WORKED AS A PUBLIC SCHOOL TEACHER. SEVEN YEARS LATER KIRK IS IN LETHBRIDGE. IT SEEMS SHE KNEW PEOPLE LIVING IN TABER, INCLUDING DR. ALFRED HAMMAN AND HIS SISTER MRS. SYLVIA GIDMAN, WHO CAME FROM HER HOMELAND IN ENGLAND SO CHOSE TO VISIT. THE CHARM OF THE PRAIRIES AND MOUNTAIN LANDSCAPES OF SOUTHERN ALBERTA ENTICED HER TO STAY. KIRK LIVED IN THE VICTORIA MANSION AND THE TRAVELLER'S AID SOCIETY BUILDING AND SHE TAUGHT ART CLASSES AT THE YMCA FOR A FEW DOLLARS A MONTH." KIRK PASSED AWAY IN LETHBRIDGE IN 1953. FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO, PAGE 67 "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRK" BY WENDY AITKENS. ALSO SEE PERMANENT FILE.
Catalogue Number
P20150019000
Acquisition Date
2015-01
Collection
Museum
Images
Less detail

6 records – page 1 of 1.