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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
Other Name
A. P. P SHOULDER TITLE
Date Range From
1919
Date Range To
1932
Material Type
Artifact
Materials
ALUMINUM, BRASS
Catalogue Number
P20180014001
  1 image  
Material Type
Artifact
Other Name
A. P. P SHOULDER TITLE
Date Range From
1919
Date Range To
1932
Materials
ALUMINUM, BRASS
No. Pieces
1
Height
0.9
Length
6.0
Width
2.6
Description
SILVER SHOULDER TITLE. HAS THE LETTERS "A.P." CENTERED ABOVE THE WORD "POLICE". BACK OF TITLE HAS 2 BRASS LOOPS FOR HOLDING BRASS SPLIT PIN. THERE IS NO PIN.
Subjects
PERSONAL SYMBOL
Historical Association
SAFETY SERVICES
History
THIS BADGE BELONGED TO THE DONOR'S FATHER, EDWARD ETTERSHANK BUCHANAN. ACCORDING TO THE BIOGRAPHICAL HISTORY PROVIDED WITH A BUCHANAN A. P. P.-RELATED DONATION MADE BY JEAN I. BUCHANAN IN 2002 (P20020090). IT STATES, "BORN IN GLASGOW, SCOTLAND, WHERE BUCHANAN BEGAN REGULAR SCHOOLING AT THE AGE OF 4, WHICH ENABLED HIM TO COMPLETE HIS HIGH SCHOOL BEFORE HIS PARENTS MOVED THE FAMILY TO CANADA IN MAY 1914. THE FAMILY SETTLED IN EDMONTON, ALBERTA, WHERE EDWARD FOUND A JOB PLUS ENROLLED IN NIGHT CLASSES AT THE EDMONTON TECHNICAL SCHOOL TAKING ENGLISH, CANADIAN HISTORY, TRIGONOMETRY AND MANUAL TRAINING IN WOODWORKING. IN FEBRUARY 1917, THE ALBERTA PROVINCIAL POLICE WAS ORGANIZED. ED JOINED IN MAY OF 1920." THESE BADGES WERE A PART OF HIS UNIFORM IN THIS ROLE. AN INTERVIEW WAS CONDUCTED BY GALT’S COLLECTION TECHNICIAN KEVIN MACLEAN ON JUNE 8, 2018 WITH THE DONOR JEAN I. BUCHANAN IN REGARDS TO A NEW ARTIFACT OFFER SHE WAS MAKING TO THE MUSEUM (P20180014001-2). THE FOLLOWING INFORMATION REGARDING THE CAREER OF SENIOR STAFF SERGEANT EDWARD ETTERSHANK “BUCK” BUCHANAN – THE DONOR’S FATHER – HAS BEEN EXTRACTED FROM THAT INTERVIEW. DESCRIBING HER FATHER’S CAREER, BUCHANAN BEGAN, “[MY DAD] JOINED THE A.P.P. WHEN HE WAS TWENTY AND HE WAS STATIONED OUT NEAR ST. PAUL…AS A ROOKIE – RIGHT AT THE START – HE WAS ON JOB TO BE ON GUARD AT THE STATION. AND IT WASN’T LONG UNTIL HE WAS SENT OUT TO ST. PAUL AND INTO MORE REAL POLICING. WHEN THE CRAZY PROHIBITION WAS BROUGHT IN, THAT WAS A REAL PAIN FOR THE POLICE. IT WAS [A MOVEMENT] PUSHED BY THESE DO-GOODERS, WHO DIDN’T REALIZE WHAT THEY WERE DOING. DAD WAS VERY UPSET TALKING ABOUT THAT. EVEN WHEN HE WAS JUST A YOUNG FELLOW, [HE WAS] FINDING YOUNG, GOOD FARM BOYS BLIND OR DEAD OVER A FENCE, BECAUSE THEY HAD A PROBLEM WITH THE PROHIBITION AND GETTING MOONSHINE THAT WASN’T MATURE OR SOMETHING, [WHICH] WAS POISONOUS.” “IN 1921 HE MET MY MOTHER IN EDMONTON,” BUCHANAN CONTINUED, “BUT HE STAYED AT ST. PAUL. HE THEN GOT POSTED TO GRANDE PRAIRIE AND HE WAS GOING TO GO THERE, BUT THEN IN 1922 THEY GOT MARRIED [SO HE DID NOT GO TO GRAND PRAIRIE] FORTUNATELY, THE A.P.P. HAD NO RESTRICTIONS ON THEIR MEMBERS GETTING MARRIED, LIKE THE R.C.M.P. DID, SO HE DIDN’T HAVE TO WAIT TO GET MARRIED. [AFTER MY PARENTS’ MARRIAGE] THEY WENT OUT TO BRAINARD, WHERE HE WAS ON HIS OWN [AT THE POSTING]. FROM THERE, HE DID A LOT OF WORK GOING BACK AND FORTH.” “BRAINARD [WAS] A LITTLE PLACE NEAR THE HORSE LAKE INDIAN RESERVATION… THEY BUILT DAD A LOG CABIN DOWN THERE FOR THE HOUSE WITH HIS NEW WIFE AND [SOON AFTER THEY WERE] EXPECTING THEIR FIRST CHILD. [THE CABIN HAD] ONE BIG ROOM WITH CURTAINS HERE AND THERE, AND HE DIDN’T HAVE A PRISON THERE. WHEN HE TOOK IN A PRISONER, THAT’S WHEN HE NEEDED THE OREGON BOOT AND THE BALL AND CHAIN BECAUSE HE HAD A BIG BOLT ON THE FLOOR NEAR HIS OFFICE. THAT’S WHERE THE GUY HAD TO SIT, CHAINED, UNTIL [MY FATHER] COULD TAKE HIM ON INTO EDMONTON…EVEN IN THE A.P.P. TO START WITH, HE HAD SOME SERVICE DOWN HERE AT THE LETHBRIDGE PRISON. [HE WOULD BE] BRINGING PRISONERS DOWN [TO LETHBRIDGE],” BUCHANAN EXPLAINED EXPANDING ON HOW HER FATHER’S WORK TOOK HIM “BACK AND FORTH.” “THEN THEY CLOSED THAT [BRAINAR POST] DOWN AND TRANSFERRED HIM TO WEMBLEY – A LITTLE VILLAGE – AND HE WAS THE ONLY OFFICER IN CHARGE OF WEMBLEY. [HE WAS THERE] WHEN 1932 CAME ALONG AND THEN HE JUST CHANGED THE SIGN UP THERE FROM A.P.P. TO R.C.M.P… AND THAT STAYED R.C.M.P. UNTIL ’34. [FROM THERE] HE WAS TRANSFERRED TO TAKE CHARGE OF THE WESTLOCK DETACHMENT, WHICH WAS A BIG AREA. HE HAD A HUGE AREA THERE TO [COVER]. AND THERE AGAIN, WE HAD A NICE, BIG WHITE HOUSE AND A JAIL THIS TIME… THE JAIL OFFICE AND THE COURTROOM AND EVERYTHING WAS CONNECTED [TO THE HOUSE]. YOU JUST GO DOWN THE HALL AND OPEN THE DOOR AND THERE YOU GO, AND THERE’S TWO JAILS IN THERE. [THERE] HE WAS GETTING ROOKIES COMING OUT FROM EDMONTON TO TRAIN UNDER HIM… [I WAS BORN IN] ’30 [AND] NOW IN ’34, I REMEMBER GOING THERE [TO WESTLOCK].” SPEAKING ABOUT THE DISSOLUTION OF THE A. P. P. IN 1932 AND THE ABSORPTION OF SOME OF ITS MEMBERS INTO THE R. C. M P., BUCHANAN EXPLAINED, “[A. P. P. OFFICERS] WERE NOT AUTOMATICALLY TAKEN INTO THE R.C.M.P. THEY [WERE RANKED] INTO THREE CATEGORIES. [FIRST, THERE WERE THE] ONES THAT WERE NOT ACCEPTABLE; THEY HADN’T DONE A VERY GOOD JOB IN THE A.P.P. THEY SHOWED UP, GOOFIN’ AROUND, DOING THINGS THEY SHOULDN’T BE DOING. THEN THERE WERE THE ONES THAT COULD BE GIVEN A LITTLE TRIAL RUN. THEY COULD APPLY [INTO THE FORCE FOR THE TRIAL PERIOD]. THEY COULD [BE ACCEPTED] FOR A FULL YEAR AND THEN RE-APPLY AGAIN [FOR FULL-TIME]. THEN THERE’S THE TOP GRADE, [WHO] WERE AUTOMATICALLY ACCEPTABLE. DAD WAS RIGHT UP THERE IN THAT TOP GRADE…IT IS IMPORTANT [TO REMEMBER], THOSE A.P.P. MEMBERS WERE TRAINED BY THE NORTHWEST MOUNTED POLICE, NOT SOME GOOFBALLS THAT DIDN’T KNOW WHAT THEY WERE DOING OR ANYTHING LIKE THAT. THEY WERE TRAINED BY THE BEST-TRAINED POLICE OFFICERS.” WHEN ANSWERING HOW HER FATHER ENDED UP WORKING IN LETHBRIDGE, BUCHANAN SAID, “[AFTER THE DISSOLUTION OF THE A. P. P.], ASSISTANT COMMISSIONER [OF THE R. C. M. P.] HANCOCK (WILLIAM FREDERICK WATKINS “BILL” HANCOCK) KNEW DAD REALLY WELL. [PREVIOUSLY, HANCOCK] WAS THE [ACTING COMMISSIONER] FOR THE ALBERTA [PROVINCIAL POLICE]. [HANCOCK] CALLED DAD INTO THE OFFICE AND HE SAID, ‘BUCK – DAD WAS EDWARD ETTERSHANK BUCHANAN, BUT THEY CALLED HIM ‘BUCK’A LOT – I WAS GOING TO SEND YOU DOWN TO TAKE CHARGE OF THE RED DEER DETACHMENT, BUT I’VE HAD SO MUCH PROBLEM GETTING SOMEBODY TO GO DOWN TO TAKE THE LETHBRIDGE DETACHMENT. YOU’RE THE ONLY ONE THAT CAN HANDLE THE SITUATION WE’VE GOT DOWN THERE. THERE’S A LOT OF PROBLEMS AND I’M SURE YOU’RE THE ONLY ONE THAT CAN HANDLE IT. WILL YOU GO?’” AS A RESULT, EDWARD BUCHANAN WAS RELOCATED TO THE R. C. M. P.’S LETHBRIDGE DETACHMENT IN 1944. JEAN BUCHANAN CONTINUED, “DAD’S PERSONALITY WAS ALWAYS QUIET, FIRM, NO-NONSENSE, BUT HE WAS NEVER ARROGANT. I NEVER HEARD HIM SWEAR OR GET MAD AT ANYBODY, NOT EVEN PRISONERS. HE HANDLED THEM VERY QUIETLY, VERY FIRMLY. AND THE STAFF [IN LETHBRIDGE] ENDED UP LOVING HIM. THE SECRETARIES AND EVERYTHING, THEY WERE CRYING WHEN HE LEFT. AND I GOT LETTERS AND THEY CAME ALL THE WAY UP TO THEIR ANNIVERSARIES LATER IN EDMONTON… BUT [IN TERMS OF] THE SITUATION [WHICH ASSISTANT COMMISSIONER HANCOCK WAS REFERRING TO], NO, HE WAS FINE. HE NEVER HAD ANY TROUBLE. HE JUST FIRMLY, QUIETLY DEALT WITH EVERYTHING AND EVERYTHING WAS FINE. I NEVER SAW HIM STRESSED OUT. ALWAYS COOL, LAID BACK.” “[WHEN WE MOVED TO LETHBRIDGE], WE RENTED A HOUSE ON 538 – 7TH STREET SOUTH. IT’S ALL TORN DOWN NOW. BUT WE HAD [SOME] TROUBLE BECAUSE DAD HAD TO COME DOWN A MONTH OR SO AHEAD OF US. HE COULDN’T FIND A HOUSE [THAT WAS] READY, SO WHEN WE CAME DOWN [WE] STAYED IN A HOTEL FOR ABOUT TWO MONTHS. AND THEN I HAD TO START GRADE TEN; I WAS ONLY FOURTEEN. THAT WAS, TO ME, THE ONLY SAD PART OF MY LIFE – LEAVING THE WESTLOCK SCHOOL AND STARTING LCI. THE PERSONALIZATION WAS GONE WITH THE TEACHERS. ANYWAY, I GOT THROUGH GRADE TWELVE AND THAT’S ALRIGHT.” “[ANOTHER THING HE WAS RESPONSIBLE FOR HERE IN LETHBRIDGE] WAS TO OVERSEE THE PRISONER OF WAR (POW) CAMPS…HE TALKED ABOUT THE POWS IN THE RESPECT THAT THERE WAS A LOT OF VERY GOOD GERMANS THAT WERE IN THERE. THEY WOULDN’T HAVE CHOSEN TO EVEN BE IN THE GERMAN ARMY, BUT THEY WERE CONSCRIPTED OVER IN GERMANY. THEY DIDN’T HAVE ANY CHOICE, AND THEY WERE VERY DECENT, GOOD GUYS. [MY DAD] RESPECTED THEM FOR THAT… AND THEN THERE WAS A TRUST THERE TO LET SOME OF THEM OUT TO WORK ON THE [FARMS], BECAUSE THERE WAS A LABOUR SHORTAGE FOR THE FARMERS… BUT, OF COURSE, I KNEW ABOUT THE CRUELTY OF SOME OF THE HARD-CORE NAZIS THAT WERE IN THERE. THE TROUBLE WAS THERE WASN’T ENOUGH FORCE POLICE TO GO IN THERE SAFELY. THEY COULDN’T EVEN GET IN THE POW CAMP AND THE CIVIL GUARDS WERE THE ONLY ONES THAT WERE AVAILABLE, BUT THEY DIDN’T EVEN DARE GO IN HALF THE TIME. IT WAS REALLY SOMETHING. THERE WERE SOME GUYS IN THERE THAT WERE REALLY, REALLY MEAN…” “AND OH YES, A FEW [MEN DID TRY TO ESCAPE THE CAMP],” BUCHANAN CONTINUED, “BUT THEY DIDN’T GET VERY FAR. THEY NEVER GOT AWAY. I’VE GOT RECORDS OF ONES THAT WERE CAUGHT. THEY STOLE SOMEBODY’S CAR. SOME OF THEM GOT A REGULAR SENTENCE FOR BREAKING ONE OF OUR LAWS.” BUCHANAN CONFIRMS THAT HER FATHER RETIRED FROM THE ROYAL CANADIAN MOUNTED POLICE IN 1950 WHILE IN LETHBRIDGE. AFTER RETIREMENT, SHE EXPLAINED, “[HE] WENT BACK TO EDMONTON, HIS HOME CITY WHERE HIS PARENTS WERE AND A LOT OF FRIENDS… BUT THE ATTORNEY GENERAL’S DEPARTMENT WERE NOT GOING TO LET HIM LOOSE WITH HIS RECORD, SO THEY MADE IT A FIRST APPOINTMENT OF AN INSPECTOR OF JAILS FOR THE PRISONS OF ALBERTA…HE THEN WORKED ON THAT FOR FIFTEEN OR SIXTEEN YEARS. AFTER TWELVE YEARS, THEY MADE HIM SUPERINTENDENT OF PRISONS…” EDWARD BUCHANAN “SORT OF” RETIRED FROM THAT ROLE IN THE 1970S, HIS DAUGHTER EXPLAINED. HE CONTINUED WORKING IN SOME CAPACITIES UNTIL HIS PASSING IN 1998. “[I RECEIVED MY DAD’S R. C. M. P. POSSESSIONS, BECAUSE HE] KNEW I WOULD LOOK AFTER IT AND WANTED TO GET IT TO A MUSEUM… HE LIVED TO BE NINETY-EIGHT AND I DON’T THINK HE EVER THREW ANYTHING OUT SINCE HE WAS IN HIS TWENTIES.” ACCORDING TO EDWARD E. “BUCK” BUCHANAN’S OBITUARY, HE PASSED AWAY IN IN EDMONTON IN 1998. HIS WIFE’S NAME WAS CHRISTENE BUCHANAN AND TOGETHER THEY HAD FIVE CHILDREN – EDWARD, ROBERT, JEAN, WILLIAM, AND ROSE-MARIE. THE OBITUARY STATES HE SERVED 31 YEARS IN THE R.C.M.P, AND 15 YEARS AS THE SUPERINTENDENT OF CORRECTIONS FOR ALBERTA. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION.
Catalogue Number
P20180014001
Acquisition Date
2018-06
Collection
Museum
Images
Less detail
Other Name
ALBERTA PROVINCIAL POLICE BUTTON
Date Range From
1919
Date Range To
1932
Material Type
Artifact
Materials
METAL
Catalogue Number
P20180014002
  2 images  
Material Type
Artifact
Other Name
ALBERTA PROVINCIAL POLICE BUTTON
Date Range From
1919
Date Range To
1932
Materials
METAL
No. Pieces
1
Diameter
2.7
Description
A: SILVER-COLOURED METAL BUTTON. SHIELD OF ALBERTA EMBOSSED ON THE CENTER OF THE BUTTON. “ALBERTA PROVINCIAL POLICE” EMBOSSED AROUND THE CREST. SHINY FINISH. THE BACK OF THE BUTTON IS BRASS IN COLOUR. AROUND THE CENTRE OF THE BACK “W. SCULLY MONTREAL” IS MACHINE ENGRAVED. THERE IS A LOOP FOR A PIN FASTENER LOOSELY ATTACHED TO THE BACK B: TWO-PRONGED BRASS PIN WITH A CIRCULAR LOOP ON ONE END AND THE TWO ENDS ON THE PIN EXTENDING OUT INTO A V-SHAPE ON THE OTHER. PIN IS 3.2 CM IN LENGTH AND AT THE WIDEST POINT THE PRONGS ARE 1.1 CM APART. CONDITION: SLIGHT SCRATCHING ON THE FRONT AND BACK SURFACES OF THE BUTTON. BRASS BACK IS SLIGHTLY TARNISHED. METAL OF PIN IN SLIGHTLY DISCOLOURED.
Subjects
CLOTHING-ACCESSORY
Historical Association
SAFETY SERVICES
History
THIS BUTTON BELONGED TO DONOR'S FATHER, EDWARD ETTERSHANK BUCHANAN. ACCORDING TO THE BIOGRAPHICAL HISTORY PROVIDED WITH A BUCHANAN A. P. P.-RELATED DONATION MADE BY JEAN I. BUCHANAN IN 2002 (P20020090). IT STATES, "BORN IN GLASGOW, SCOTLAND, WHERE BUCHANAN BEGAN REGULAR SCHOOLING AT THE AGE OF 4, WHICH ENABLED HIM TO COMPLETE HIS HIGH SCHOOL BEFORE HIS PARENTS MOVED THE FAMILY TO CANADA IN MAY 1914. THE FAMILY SETTLED IN EDMONTON, ALBERTA, WHERE EDWARD FOUND A JOB PLUS ENROLLED IN NIGHT CLASSES AT THE EDMONTON TECHNICAL SCHOOL TAKING ENGLISH, CANADIAN HISTORY, TRIGONOMETRY AND MANUAL TRAINING IN WOODWORKING. IN FEBRUARY 1917, THE ALBERTA PROVINCIAL POLICE WAS ORGANIZED. ED JOINED IN MAY OF 1920." AN INTERVIEW WAS CONDUCTED BY GALT’S COLLECTION TECHNICIAN KEVIN MACLEAN ON JUNE 8, 2018 WITH THE DONOR JEAN I. BUCHANAN IN REGARDS TO A NEW ARTIFACT OFFER SHE WAS MAKING TO THE MUSEUM (P20180014001-2). THE FOLLOWING INFORMATION REGARDING THE CAREER OF SENIOR STAFF SERGEANT EDWARD ETTERSHANK “BUCK” BUCHANAN – THE DONOR’S FATHER – HAS BEEN EXTRACTED FROM THAT INTERVIEW. AN INTERVIEW WAS CONDUCTED BY GALT’S COLLECTION TECHNICIAN KEVIN MACLEAN ON JUNE 8, 2018 WITH THE DONOR JEAN I. BUCHANAN IN REGARDS TO A NEW ARTIFACT OFFER SHE WAS MAKING TO THE MUSEUM (P20180014001-2). THE FOLLOWING INFORMATION REGARDING THE CAREER OF SENIOR STAFF SERGEANT EDWARD ETTERSHANK “BUCK” BUCHANAN – THE DONOR’S FATHER – HAS BEEN EXTRACTED FROM THAT INTERVIEW. DESCRIBING HER FATHER’S CAREER, BUCHANAN BEGAN, “[MY DAD] JOINED THE A.P.P. WHEN HE WAS TWENTY AND HE WAS STATIONED OUT NEAR ST. PAUL…AS A ROOKIE – RIGHT AT THE START – HE WAS ON JOB TO BE ON GUARD AT THE STATION. AND IT WASN’T LONG UNTIL HE WAS SENT OUT TO ST. PAUL AND INTO MORE REAL POLICING. WHEN THE CRAZY PROHIBITION WAS BROUGHT IN, THAT WAS A REAL PAIN FOR THE POLICE. IT WAS [A MOVEMENT] PUSHED BY THESE DO-GOODERS, WHO DIDN’T REALIZE WHAT THEY WERE DOING. DAD WAS VERY UPSET TALKING ABOUT THAT. EVEN WHEN HE WAS JUST A YOUNG FELLOW, [HE WAS] FINDING YOUNG, GOOD FARM BOYS BLIND OR DEAD OVER A FENCE, BECAUSE THEY HAD A PROBLEM WITH THE PROHIBITION AND GETTING MOONSHINE THAT WASN’T MATURE OR SOMETHING, [WHICH] WAS POISONOUS.” “IN 1921 HE MET MY MOTHER IN EDMONTON,” BUCHANAN CONTINUED, “BUT HE STAYED AT ST. PAUL. HE THEN GOT POSTED TO GRANDE PRAIRIE AND HE WAS GOING TO GO THERE, BUT THEN IN 1922 THEY GOT MARRIED [SO HE DID NOT GO TO GRAND PRAIRIE] FORTUNATELY, THE A.P.P. HAD NO RESTRICTIONS ON THEIR MEMBERS GETTING MARRIED, LIKE THE R.C.M.P. DID, SO HE DIDN’T HAVE TO WAIT TO GET MARRIED. [AFTER MY PARENTS’ MARRIAGE] THEY WENT OUT TO BRAINARD, WHERE HE WAS ON HIS OWN [AT THE POSTING]. FROM THERE, HE DID A LOT OF WORK GOING BACK AND FORTH.” “BRAINARD [WAS] A LITTLE PLACE NEAR THE HORSE LAKE INDIAN RESERVATION… THEY BUILT DAD A LOG CABIN DOWN THERE FOR THE HOUSE WITH HIS NEW WIFE AND [SOON AFTER THEY WERE] EXPECTING THEIR FIRST CHILD. [THE CABIN HAD] ONE BIG ROOM WITH CURTAINS HERE AND THERE, AND HE DIDN’T HAVE A PRISON THERE. WHEN HE TOOK IN A PRISONER, THAT’S WHEN HE NEEDED THE OREGON BOOT AND THE BALL AND CHAIN BECAUSE HE HAD A BIG BOLT ON THE FLOOR NEAR HIS OFFICE. THAT’S WHERE THE GUY HAD TO SIT, CHAINED, UNTIL [MY FATHER] COULD TAKE HIM ON INTO EDMONTON…EVEN IN THE A.P.P. TO START WITH, HE HAD SOME SERVICE DOWN HERE AT THE LETHBRIDGE PRISON. [HE WOULD BE] BRINGING PRISONERS DOWN [TO LETHBRIDGE],” BUCHANAN EXPLAINED EXPANDING ON HOW HER FATHER’S WORK TOOK HIM “BACK AND FORTH.” “THEN THEY CLOSED THAT [BRAINAR POST] DOWN AND TRANSFERRED HIM TO WEMBLEY – A LITTLE VILLAGE – AND HE WAS THE ONLY OFFICER IN CHARGE OF WEMBLEY. [HE WAS THERE] WHEN 1932 CAME ALONG AND THEN HE JUST CHANGED THE SIGN UP THERE FROM A.P.P. TO R.C.M.P… AND THAT STAYED R.C.M.P. UNTIL ’34. [FROM THERE] HE WAS TRANSFERRED TO TAKE CHARGE OF THE WESTLOCK DETACHMENT, WHICH WAS A BIG AREA. HE HAD A HUGE AREA THERE TO [COVER]. AND THERE AGAIN, WE HAD A NICE, BIG WHITE HOUSE AND A JAIL THIS TIME… THE JAIL OFFICE AND THE COURTROOM AND EVERYTHING WAS CONNECTED [TO THE HOUSE]. YOU JUST GO DOWN THE HALL AND OPEN THE DOOR AND THERE YOU GO, AND THERE’S TWO JAILS IN THERE. [THERE] HE WAS GETTING ROOKIES COMING OUT FROM EDMONTON TO TRAIN UNDER HIM… [I WAS BORN IN] ’30 [AND] NOW IN ’34, I REMEMBER GOING THERE [TO WESTLOCK].” SPEAKING ABOUT THE DISSOLUTION OF THE A. P. P. IN 1932 AND THE ABSORPTION OF SOME OF ITS MEMBERS INTO THE R. C. M P., BUCHANAN EXPLAINED, “[A. P. P. OFFICERS] WERE NOT AUTOMATICALLY TAKEN INTO THE R.C.M.P. THEY [WERE RANKED] INTO THREE CATEGORIES. [FIRST, THERE WERE THE] ONES THAT WERE NOT ACCEPTABLE; THEY HADN’T DONE A VERY GOOD JOB IN THE A.P.P. THEY SHOWED UP, GOOFIN’ AROUND, DOING THINGS THEY SHOULDN’T BE DOING. THEN THERE WERE THE ONES THAT COULD BE GIVEN A LITTLE TRIAL RUN. THEY COULD APPLY [INTO THE FORCE FOR THE TRIAL PERIOD]. THEY COULD [BE ACCEPTED] FOR A FULL YEAR AND THEN RE-APPLY AGAIN [FOR FULL-TIME]. THEN THERE’S THE TOP GRADE, [WHO] WERE AUTOMATICALLY ACCEPTABLE. DAD WAS RIGHT UP THERE IN THAT TOP GRADE…IT IS IMPORTANT [TO REMEMBER], THOSE A.P.P. MEMBERS WERE TRAINED BY THE NORTHWEST MOUNTED POLICE, NOT SOME GOOFBALLS THAT DIDN’T KNOW WHAT THEY WERE DOING OR ANYTHING LIKE THAT. THEY WERE TRAINED BY THE BEST-TRAINED POLICE OFFICERS.” WHEN ANSWERING HOW HER FATHER ENDED UP WORKING IN LETHBRIDGE, BUCHANAN SAID, “[AFTER THE DISSOLUTION OF THE A. P. P.], ASSISTANT COMMISSIONER [OF THE R. C. M. P.] HANCOCK (WILLIAM FREDERICK WATKINS “BILL” HANCOCK) KNEW DAD REALLY WELL. [PREVIOUSLY, HANCOCK] WAS THE [ACTING COMMISSIONER] FOR THE ALBERTA [PROVINCIAL POLICE]. [HANCOCK] CALLED DAD INTO THE OFFICE AND HE SAID, ‘BUCK – DAD WAS EDWARD ETTERSHANK BUCHANAN, BUT THEY CALLED HIM ‘BUCK’A LOT – I WAS GOING TO SEND YOU DOWN TO TAKE CHARGE OF THE RED DEER DETACHMENT, BUT I’VE HAD SO MUCH PROBLEM GETTING SOMEBODY TO GO DOWN TO TAKE THE LETHBRIDGE DETACHMENT. YOU’RE THE ONLY ONE THAT CAN HANDLE THE SITUATION WE’VE GOT DOWN THERE. THERE’S A LOT OF PROBLEMS AND I’M SURE YOU’RE THE ONLY ONE THAT CAN HANDLE IT. WILL YOU GO?’” AS A RESULT, EDWARD BUCHANAN WAS RELOCATED TO THE R. C. M. P.’S LETHBRIDGE DETACHMENT IN 1944. JEAN BUCHANAN CONTINUED, “DAD’S PERSONALITY WAS ALWAYS QUIET, FIRM, NO-NONSENSE, BUT HE WAS NEVER ARROGANT. I NEVER HEARD HIM SWEAR OR GET MAD AT ANYBODY, NOT EVEN PRISONERS. HE HANDLED THEM VERY QUIETLY, VERY FIRMLY. AND THE STAFF [IN LETHBRIDGE] ENDED UP LOVING HIM. THE SECRETARIES AND EVERYTHING, THEY WERE CRYING WHEN HE LEFT. AND I GOT LETTERS AND THEY CAME ALL THE WAY UP TO THEIR ANNIVERSARIES LATER IN EDMONTON… BUT [IN TERMS OF] THE SITUATION [WHICH ASSISTANT COMMISSIONER HANCOCK WAS REFERRING TO], NO, HE WAS FINE. HE NEVER HAD ANY TROUBLE. HE JUST FIRMLY, QUIETLY DEALT WITH EVERYTHING AND EVERYTHING WAS FINE. I NEVER SAW HIM STRESSED OUT. ALWAYS COOL, LAID BACK.” “[WHEN WE MOVED TO LETHBRIDGE], WE RENTED A HOUSE ON 538 – 7TH STREET SOUTH. IT’S ALL TORN DOWN NOW. BUT WE HAD [SOME] TROUBLE BECAUSE DAD HAD TO COME DOWN A MONTH OR SO AHEAD OF US. HE COULDN’T FIND A HOUSE [THAT WAS] READY, SO WHEN WE CAME DOWN [WE] STAYED IN A HOTEL FOR ABOUT TWO MONTHS. AND THEN I HAD TO START GRADE TEN; I WAS ONLY FOURTEEN. THAT WAS, TO ME, THE ONLY SAD PART OF MY LIFE – LEAVING THE WESTLOCK SCHOOL AND STARTING LCI. THE PERSONALIZATION WAS GONE WITH THE TEACHERS. ANYWAY, I GOT THROUGH GRADE TWELVE AND THAT’S ALRIGHT.” “[ANOTHER THING HE WAS RESPONSIBLE FOR HERE IN LETHBRIDGE] WAS TO OVERSEE THE PRISONER OF WAR (POW) CAMPS…HE TALKED ABOUT THE POWS IN THE RESPECT THAT THERE WAS A LOT OF VERY GOOD GERMANS THAT WERE IN THERE. THEY WOULDN’T HAVE CHOSEN TO EVEN BE IN THE GERMAN ARMY, BUT THEY WERE CONSCRIPTED OVER IN GERMANY. THEY DIDN’T HAVE ANY CHOICE, AND THEY WERE VERY DECENT, GOOD GUYS. [MY DAD] RESPECTED THEM FOR THAT… AND THEN THERE WAS A TRUST THERE TO LET SOME OF THEM OUT TO WORK ON THE [FARMS], BECAUSE THERE WAS A LABOUR SHORTAGE FOR THE FARMERS… BUT, OF COURSE, I KNEW ABOUT THE CRUELTY OF SOME OF THE HARD-CORE NAZIS THAT WERE IN THERE. THE TROUBLE WAS THERE WASN’T ENOUGH FORCE POLICE TO GO IN THERE SAFELY. THEY COULDN’T EVEN GET IN THE POW CAMP AND THE CIVIL GUARDS WERE THE ONLY ONES THAT WERE AVAILABLE, BUT THEY DIDN’T EVEN DARE GO IN HALF THE TIME. IT WAS REALLY SOMETHING. THERE WERE SOME GUYS IN THERE THAT WERE REALLY, REALLY MEAN…” “AND OH YES, A FEW [MEN DID TRY TO ESCAPE THE CAMP],” BUCHANAN CONTINUED, “BUT THEY DIDN’T GET VERY FAR. THEY NEVER GOT AWAY. I’VE GOT RECORDS OF ONES THAT WERE CAUGHT. THEY STOLE SOMEBODY’S CAR. SOME OF THEM GOT A REGULAR SENTENCE FOR BREAKING ONE OF OUR LAWS.” BUCHANAN CONFIRMS THAT HER FATHER RETIRED FROM THE ROYAL CANADIAN MOUNTED POLICE IN 1950 WHILE IN LETHBRIDGE. AFTER RETIREMENT, SHE EXPLAINED, “[HE] WENT BACK TO EDMONTON, HIS HOME CITY WHERE HIS PARENTS WERE AND A LOT OF FRIENDS… BUT THE ATTORNEY GENERAL’S DEPARTMENT WERE NOT GOING TO LET HIM LOOSE WITH HIS RECORD, SO THEY MADE IT A FIRST APPOINTMENT OF AN INSPECTOR OF JAILS FOR THE PRISONS OF ALBERTA…HE THEN WORKED ON THAT FOR FIFTEEN OR SIXTEEN YEARS. AFTER TWELVE YEARS, THEY MADE HIM SUPERINTENDENT OF PRISONS…” EDWARD BUCHANAN “SORT OF” RETIRED FROM THAT ROLE IN THE 1970S, HIS DAUGHTER EXPLAINED. HE CONTINUED WORKING IN SOME CAPACITIES UNTIL HIS PASSING IN 1998. “[I RECEIVED MY DAD’S R. C. M. P. POSSESSIONS, BECAUSE HE] KNEW I WOULD LOOK AFTER IT AND WANTED TO GET IT TO A MUSEUM… HE LIVED TO BE NINETY-EIGHT AND I DON’T THINK HE EVER THREW ANYTHING OUT SINCE HE WAS IN HIS TWENTIES.” ACCORDING TO EDWARD E. “BUCK” BUCHANAN’S OBITUARY, HE PASSED AWAY IN IN EDMONTON IN 1998. HIS WIFE’S NAME WAS CHRISTENE BUCHANAN AND TOGETHER THEY HAD FIVE CHILDREN – EDWARD, ROBERT, JEAN, WILLIAM, AND ROSE-MARIE. THE OBITUARY STATES HE SERVED 31 YEARS IN THE R.C.M.P, AND 15 YEARS AS THE SUPERINTENDENT OF CORRECTIONS FOR ALBERTA. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION.
Catalogue Number
P20180014002
Acquisition Date
2018-06
Collection
Museum
Images
Less detail
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Material Type
Artifact
Materials
GLASS, BRASS
Catalogue Number
P20160037000
  1 image  
Material Type
Artifact
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Materials
GLASS, BRASS
No. Pieces
2
Height
29
Diameter
16
Description
A: GLASS KEROSENE LAMP THAT HAS A FROSTED GLASS OIL LAMP BODY, WHICH IS ATTACHED TO A RED BASE. ON OIL LAMP BODY, THERE ARE 10 BLACK SCOTTISH TERRIERS PAINTED AROUND THE DIAMETER OF THE LAMP. THERE IS A METAL COLLAR AND BURNER WITH FOUR PRONGS ATTACHED TO HOLD THE REMOVABLE, GLASS CHIMNEY IN PLACE. THERE IS A USED WICK IN THE BURNER. IT SAYS, “QUEEN MARY” ON THE BURNER. THERE ARE SEAMS CONNECTING THE GLASS AT BOTH SIDES FOR THE LAMP BODY AND THE BASE. THE BODY SEAMS AND THE BASE SEAMS DO NOT MEET. ON THE UNDERSIDE OF THE LAMP THERE IS AN EMBOSSED VINE DESIGN. GOOD CONDITION. REGULAR WEAR AT THE TOP INCLUDING SLIGHT RUSTING AND BURN MARKS. THERE IS A SMALL SCRATCH TO THE LEFT OF GLASS SEAM ON THE BASE. B: GLASS, LAMP CHIMNEY WITH 22 CM IN HEIGHT AND A TOP DIAMETER OF 5 CM AND A BOTTOM DIAMETER OF 7.4 CM. GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
DOMESTIC
History
ON 26 OCTOBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH DIANE CÔTÉ (NEE ULLY), WHO DONATED A KEROSENE LAMP THAT HAD BEEN USED THROUGHOUT HER CHILDHOOD. THIS LAMP WAS USED ON THE ULLY FAMILY FARM IN PICTURE BUTTE, AND LATER WHEN THE FAMILY MOVED TO FISHBURN IN THE PINCHER CREEK AREA. IT WAS FINALLY BROUGHT TO THE HOME WHERE CÔTÉ’S PARENTS, FREDRICK CARL ULLY AND SAIMI MARY ULLY, RETIRED IN THE TOWN OF PINCHER CREEK. CÔTÉ RECALLS, “YOU KNOW I DON’T EVEN REMEMBER IF WE HAD POWER AT PICTURE BUTTE, BUT I DON’T THINK WE DID… THE ONLY THING I CAN THINK ABOUT FROM THERE IS WE HAD SEPARATE BEDROOMS IN PICTURE BUTTE. AND I COULD SEE [MY MOM] GOING INTO MOM AND DAD’S BEDROOM WITH [THE LAMP] ONE NIGHT, BUT THAT’S ALL I SEE.” CÔTÉ REMEMBERS THE LAMP’S PRESENCE ON THEIR FARM IN THE PINCHER CREEK AREA AFTER MOVING THERE IN 1952: “I CAN STILL HEAR MY MOTHER SAYING TO ME, ‘YOU DON’T TOUCH THAT LAMP,’ JUST AS PLAIN AS IF IT WAS YESTERDAY. SHE SAID SHE WAS SO WORRIED ABOUT A FIRE. I WAS TEN WHEN WE MOVED [TO FISHBURN. I LATER REALIZED SHE WAS RIGHT; I WAS] PROBABLY NOT RESPONSIBLE ENOUGH TO TOUCH THE LAMP, IN CASE IT DROPPED OR [IF I] BROKE IT. WE ONLY HAD A TWO BEDROOM HOUSE, AND I HAD A BROTHER, SO I SLEPT WITH MY MOTHER AND MY BROTHER SLEPT WITH MY DAD… I REMEMBER MY MOTHER CARRYING [THE LAMP] AROUND A LOT. WHEN I THINK OF HER, I THINK OF THE LAMP TOO. EVERY NIGHT AT BEDTIME, SHE AND I WERE USUALLY THE LAST ONES TO GO TO BED, SO I REMEMBER SHE PICKED UP THE LAMP [OFF THE KITCHEN TABLE] AND WE TROTTED OFF TO BED… WE DID THAT TRIP SO MANY TIMES - EVERY SINGLE NIGHT. THAT’S JUST SOMETHING THAT HAS STUCK WITH ME…” “WHEN WE FIRST MOVED [TO FISHBURN], IT WAS [THE ONLY SOURCE OF LIGHT IN THE HOUSE]. THEN LATER ON, THEY GOT A CAMPING LAMP THAT [HAD] A HANDLE. THE HOUSE WE MOVED [INTO] WAS AN OLD, OLD, OLD LOG HOUSE. I THINK IT WAS 100 YEARS OLD WHEN WE MOVED INTO IT. IT HAD THE ACTUAL LOGS. THEY WEREN’T PLANED; THEY WERE JUST THE ACTUAL LOGS WITH WHITEWASH ON THEM. HE PUT A THING UP THERE, SO THEN WE COULD LIGHT THIS LAMP UP AND HANG IT UP ON THE ROOF. I DON’T REMEMBER WHEN WE GOT POWER. I REMEMBER THEM PUTTING THE POSTS UP IN MY YARD, BUT I DON’T REMEMBER WHEN IT WAS. I WOULD THINK SOMEWHERE IN THE ‘50’S, AFTER THAT, AFTER WE GOT THAT LAMP, THEN THIS ONE WASN’T USED AS MUCH, BUT IT WAS STILL SITTING ON MY DRESSER… THAT WAS NORMAL FOR US, UNTIL DAD GOT THE ONE HE PUT IN THE ROOF. THE ONLY THING THE ONE ON THE ROOF DID WAS GIVE US WAY MORE LIGHT. OUR TABLE WAS HERE AND OUR CUPBOARD WAS WAY OVER [THERE], SO IF [THIS LAMP] WAS THE ONLY LIGHT YOU HAD, AND YOU NEEDED LIGHT, YOU HAD TO TAKE THAT FROM [HERE] TO THE CUPBOARD TO SEE WHAT YOU WERE DOING. THE OTHER LAMP PROVIDED US WITH LIGHT THAT WE DIDN’T HAVE TO MOVE, YOU COULD JUST TURN IT ON AND OFF.” CÔTÉ’S PARENTS THEN MOVED TO PINCHER CREEK, WHERE THE LAMP WAS MOVED WITH THEM. WHEN ASKED WHEN THEY MOVED, COTÉ RESPONDED, “PROBABLY 1970 OR ’71.” CÔTÉ ACQUIRED THE LAMP AFTER THE PASSING OF HER FATHER ON JANUARY 9, 2012. “YOU WOULDN’T BELIEVE THE STUFF THEY HAD IN THEIR HOUSE. THEY GREW UP IN THE DIRTY THIRTIES, SO THEY COLLECTED EVERYTHING… I KNOW, PRIOR TO MY MOM’S PASSING [ON SEPTEMBER 21, 2004], THEY HAD A THREE BEDROOM HOUSE. AND THE SPARE BEDROOM AT THE BACK, [THE LANTERN] WAS SITTING ON THE DRESSER THERE.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPT, THE LETHBRIDGE HERALD OBITUARIES FOR FRED AND SAIMI ULLY, AND FAMILY PHOTOGRAPHS.
Catalogue Number
P20160037000
Acquisition Date
2016-10
Collection
Museum
Images
Less detail
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Material Type
Artifact
Materials
CERAMIC, PAINT
Catalogue Number
P20150037000
  1 image  
Material Type
Artifact
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Materials
CERAMIC, PAINT
No. Pieces
1
Height
5.08
Width
12.4
Description
BLACK, CERAMIC ASHTRAY. THE INSIDE OPENING OF THE ASHTRAY IS 6.4 CM. THE LETTERING ON THE TOP SAYS “THE MARQUIS HOTEL, LETHBRIDGE, ALBERTA, CANADA.” THERE IS AN ABSTRACTED FLORAL DESIGN ON EITHER SIDE OF THIS LETTERING. THE FLOWERS ARE PAINTED RED AND THEIR STEMS PAINTED GREEN. THIS WORDING AND DESIGN REPEATS ON THE OPPOSITE SIDE. THE LETTERING ON THE BOTTOM SAYS, “MADE IN JAPAN 29.” VERY GOOD CONDITION. USED WITH SOME WEAR APPARENT. BLACK PAINT IS WEARING OFF ON SOME PARTS OF THE SURFACE. SIGNIFICANT WEAR TO THE RED AND GREEN PAINT OF THE DECALS.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
BUSINESS
History
ON DECEMBER 16, 2015, DONOR CHRIS MORRISON INFORMED COLLECTIONS TECHNICIAN KEVIN MACLEAN THAT SHE CAME INTO POSSESSION OF THE ASHTRAY WHEN SHE AND HER HUSBAND BECAME STEWARDS OF A WATERTON CABIN IN 1976. THE CABIN, LOCATED AT 103 CAMERON FALLS, WAS OWNED BY HER MOTHER-IN-LAW DOROTHY MORRISON (D. 1995). IT WAS AMONG ASSORTED FURNISHINGS LEFT BEHIND WHEN DOROTHY MOVED OUT AND CHRIS MOVED IN. THE DONOR’S RECOLLECTION OF THE ASHTRAY’S USE IMMEDIATELY PRIOR TO IT BECOMING HER PROPERTY WAS AS A CONTAINER. MORRISON SAID, “IT WAS IN A [CABIN] WASHSTAND AND USED TO HOLD LITTLE OBJECTS LIKE ROLLED UP KEROSENE LANTERN TAPE WICKS”. ACCORDING TO MORRISON, IT WAS ALSO KNOWN AS “GRANDPA’S ASHTRAY”. GRANDPA REFERS TO JAMES J. MORRISON OF LETHBRIDGE. “HE ONLY SMOKED CIGARS” SAID THE DONOR, WHEREAS HER MOTHER-IN-LAW DOROTHY DID NOT SMOKE AT ALL. THE ASHTRAY’S USE AS A CONTAINER FOR LANTERN WICKS AND SMALL ITEMS CONTINUED RIGHT UP TO THE DAY THAT IT WAS OFFERED TO THE GALT IN 2015. ACCORDING TO HER OBITUARY IN THE LETHBRIDGE HERALD, DOROTHY MORRISON, PASSED AWAY IN LETHBRIDGE ON NOVEMBER 26, 1995 AT THE AGE OF 83 YEARS. JAMES JACOB MORRISON, DOROTHY’S FATHER-IN-LAW, PASSED ON FEBRUARY 18TH, 1975 AT AGE 93. THE ASHTRAY IS MARKED WITH “MARQUIS HOTEL,” WHICH COULD REFER TO THE LETHBRIDGE HOTEL THAT OPENED IN JUNE 1928. REALIZING A NEED FOR A FIRST-CLASS HOTEL IN LETHBRIDGE, ESPECIALLY ONE WITH A BANQUET HALL, THE BUSINESSMEN OF THE BOARD OF TRADE COMMITTED THEMSELVES TO THE HOTEL IN 1927. AFTER ITS OPENING, THE BOARD OF TRADE WOULD HOLD THEIR REGULAR, NOON-HOUR MEETINGS AT THE HOTEL FOR MANY YEARS TO COME. THE HOTEL CLOSED ITS DOORS IN 1985 AND THE BUILDING WAS DEMOLISHED IN 1988. THIS INFORMATION COMES FROM LETHBRIDGE HERALD ARTICLES AND A WRITE-UP ABOUT THE HOTEL IN THE PUBLICATION TITLED "WHERE WAS IT? A GUIDE TO EARLY LETHBRIDGE BUILDINGS," BY IRMA DOGTEROM. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND A COPY OF THE INFORMATION FROM THE PUBLICATION CITED ABOVE.
Catalogue Number
P20150037000
Acquisition Date
2015-12
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010013
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
18.7
Length
23.9
Description
WATERCOLOUR ON PAPER PAINTING THAT DEPICTS SCENE OF FIELD WITH FENCES STRETCHING HORIZONTALLY ACROSS THE IMAGE. GUARD TOWER AND WATER TOWER ON THE LEFT SIDE OF THE IMAGE. HOUSES AMOUNG BUSHES. MOUNTAINS IN DISTANT BACKGROUND. THE WORK IS TITLED "LETHBRIDGE, KANADA," IN THE BOTTOM LEFT CORNER. THE BACK IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER. SLIGHT FOXING OVERALL. WRINKLE ON BACK RIGHT EDGE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA" DEPICTS THAT CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010013
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"UMNAK"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010014
  2 images  
Material Type
Artifact
Other Name
"UMNAK"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
19
Length
27.5
Description
WATERCOLOUR ON PAPER PAINTING DEPICTING A SNOW-COVERED SCENE OF A CAMP, INCLUDING A FIGURE IN FRONT OF TENTS WITH MOUNTAINS IN THE BACKGROUND. BLANK BORDER AROUND ALL SIDES. SIGNED "UMNAK" ON THE BOTTOM LEFT AND "K. ENGEL." ON THE BOTTOM RIGHT. THE BACK SIDE IS STAMPED WITH A CIRCULAR CENSOR STAMP THAT READS, "INT. OP. CANADA CENSORED 51." VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; SLIGHT WRINKLES AT UPPER AND LEFT EDGES.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010014
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER OZADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010015
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER OZADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
12.8
Length
20.4
Description
WATERCOLOUR ON PAPER PAINTING DEPICTING SCENE OF CAMP IDENTICAL TO P20160010010, BUT IN COLOUR INSTEAD OF GRAPHITE. THE IMAGE INCLUDES ROW OF TENTS ON THE LEFT SIDE, FENCING RECEDING FROM THE BOTTOM RIGHT CORNER, AND WATCHTOWERS ON THE RIGHT SIDE OF THE SCENE. MOUNTAINS IN THE BACKGROUND. THE PAINTING IS TITLED, "K. G. LAGER OZADA" ON THE BOTTOM LEFT. THE BACK SIDE IS STAMPED WITH A CIRCULAR CENSOR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF THE PAPER; SLIGHT FOXING AT THE UPPER LEFT; PENCIL MARK IN THE TOP LEFT OF THE BACK.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010015
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"KANADA, OZADA; K. G. LAGER; 21 NOVEMBER 1944"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010016
  2 images  
Material Type
Artifact
Other Name
"KANADA, OZADA; K. G. LAGER; 21 NOVEMBER 1944"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
17.4
Length
23.5
Description
WATERCOLOUR ON PAPER PAINTING WITH THREE GREY STRUCTURES ON THE LEFT WITH A PATH LEADING UP TO THEM. ROW OF TENTS ON THE RIGHT OF IMAGE. HILLS AND MOUNTAINS IN THE BACKGROUND AND COLOURFUL SKY. THE BACK SIDE IS SIGNED IN PENCIL READING, "KANADA, OZADA; K. G. LAGER; 21. NOVEMBER 1944." CENSOR STAMPED. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF THE PAPER; THREE MODERATE BROWN STAINS ON THE BOTTOM RIGHT QUADRANT OF THE WORK. BOTH CORNERS OF THE LEFT SIDE ARE CURLING UP.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
N 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). HE WAS TRANSFERRED THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THIS DRAWING, TITLED "KANADA, OZADA; K. G. LAGER; 21. NOVEMBER 1944," DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010016
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010017
  2 images  
Material Type
Artifact
Other Name
"OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
30
Length
22.1
Description
WATERCOLOUR ON PAPER PAINTING OF A SNOW-COVERED CAMP WITH 3 TENTS ON THE LEFT SIDE OF THE SCENE. WHITE STRUCTURE TO THE RIGHT OF THE TENTS. WATCHTOWER BEHIND TENTS AND MOUNTAINS IN THE BACKGROUND. THE PAINTING IS TITLED "OZADA, KANADA" ON THE BOTTOM LEFT AND SIGNED BY THE ARTIST "K. ENGEL" ON THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED - "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; WRINKLING AT THE TOP AND BOTTOM EDGES; AND FOXING ON THE BACK.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). HE WAS TRANSFERRED TO THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THIS DRAWING, TITLED "OZADA KANADA," DEPICTS THAT CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010017
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010018
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
17.4
Length
21.3
Description
WATERCOLOUR ON PAPER PAINTING DEPICTING SCENE OF FIELD WITH FENCE AND A GUARD TOWER. DARK BLUE-GREY SKY. SIGNED "K.G. LAGER LETHBRIDGE, KANADA" IN BOTTOM LEFT. CENSOR STAMPED, "INT. OP. CANADA CENSORED 51" ON THE BACK SIDE. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING IS TITLED, "K. G. LAGER LETHBRIDGE, KANADA" AND DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010018
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010019
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
18.5
Length
27
Description
BLACK INK DRAWING ON PAPER OF BUILDINGS WITH TWO SMOKESTACKS. BLANK BORDER AROUND THE EDGES OF THE PICTURE. THERE IS WRITING ON THE BACK IN PENCIL THAT SAYS, "LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945". THE BACK SIDE IS CENSOR STAMPED "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945" DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010019
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010020
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
18.3
Length
27
Description
BLACK INK ON PAPER DRAWING OF SCENE WITH MULTIPLE BUILDINGS THAT HAVE FLAT ROOFTOPS. THERE ARE STAIRCASES ON THE SIDES OF MANY OF THE BUILDINGS. BLANK BORDER AROUND ALL SIDES OF THE IMAGE. THE BACK SIDE IS SIGNED IN PENCIL, "LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945." THE BACK IS CENSOR STAMPED. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; BENDS AT THE BOTTOM CORNERS; INK IS COMING THROUGH THE PAPER ON THE BACKSIDE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945" DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010020
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA MUSIK-HALLE; JAN. 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010021
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA MUSIK-HALLE; JAN. 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
8.6
Length
27.2
Description
BLACK INK DRAWING ON PAPER OF BUILDING IN FOREGROUND WITH MUILTIPLE BUILDINGS IN BACKGROUND. FIELD SET IN THE FOREGROUND AND A CLOUDY SKY. BLANK BORDER AROUND THE IMAGE. THE DRAWING IS SIGNED "LETHBRIDGE, KANADA MUSIK-HALLE; JAN. 1945" IN THE BOTTOM LEFT. THE BACK SIDE IS SIGNED IN PENCIL, "LETHBRIDGE, KANADA; K. G. LAGER UNTERHALTUNGS HALLE; JANUAR 1945". VERY GOOD TO EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; BENDS AT THE BOTTOM CORNERS; INK COMING THROUGH TO THE BACK SIDE OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED, "LETHBRIDGE, KANADA, MUSIK-HALLE, JAN. 1945," DEPICTS THE MUSIC HALL IN THE CAMP. THE DESCRIPTION ON THE BACKSIDE INCLUDES "K. G. LAGER UNTERHALTUNGS HALLE." WHICH WOULD TRANSLATE IN ENGLISH TO POW CAMP ENTERTAINMENT HALL. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010021
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP; JAN. 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010022
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP; JAN. 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
18.3
Length
26.2
Description
BLACK INK DRAWING ON PAPER DEPICTING A SCENE OF A SILO BEHIND TALL WIRED FENCING. FIELD SET IN FRONT OF THE SCENE. THE BOTTOM LEFT IS SIGNED, "LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP; JAN. 1945." THE BACK SIDE IS SIGNED IN PENCIL, "LETHBRIDGE, KANADA; SILO ROM K. G. LAGER GESEHEN; JANUAR 1945". THE BACK IS CENSOR STAMPED. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP, JAN. 1945," DEPICTS THE AREA AROUND THE CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010022
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE/KANADA, CAMP; 09/NOV./1944"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010023
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE/KANADA, CAMP; 09/NOV./1944"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
21
Length
25.7
Description
BLACK INK DRAWING ON PAPER. IMAGE CONTAINS STREET RECEDING INTO THE BACKGROUND WITH BUILDINGS ON EITHER SIDE. FIELD IN THE FOREGROUND WITH FENCE CUTTING HORIZONTALLY ACROSS IT. POWER LINES ON THE LEFT SIDE OF THE STREET. BLANK BORDER AROUND SIDES. THE DRAWING IS SIGNED, "LETHBRIDGE/KANADA, CAMP; 09/NOV./1944" ON THE BOTTOM LEFT OF THE PAPER. THE BACK SIDE IS SIGNED WITH PENCIL, "KANADA, LETHBRIDGE; K. G. LAGER; 9. NOVEMBER 1944." THE BACK IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED." VERY GOOD / EXCELLENT CONDITION: SMALL STAIN ON THE BOTTOM LEFT.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE/KANADA, CAMP; 09/NOV./1944," DEPICTS THE LETHBRIDGE CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010023
Acquisition Date
2016-01
Collection
Museum
Images
Less detail

242 records – page 1 of 13.