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Other Name
"VICTORY" SMITH AND WESSON
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
STEEL, WOOD, METAL
Catalogue Number
P20180013000
  2 images  
Material Type
Artifact
Other Name
"VICTORY" SMITH AND WESSON
Date Range From
1955
Date Range To
1965
Materials
STEEL, WOOD, METAL
No. Pieces
1
Length
20.5
Width
3.3
Diameter
1
Description
REVOLVER WITH BLACK STEEL SHORT BARREL, CYLINDER AND FRAME. BARREL HAS FRONT SIGHT PIN AT END; HANDLE IS BROWN WOOD WITH STEEL PLATE RUNNING DOWN THE SIDES AND ACROSS THE BASE. HANDLE HAS METAL PIN ON FRONT THAT RUNS THROUGH THE SIDES OF THE HANDLE. REVOLVER HAS INSCRIPTION STAMPED BESIDE CYLINDER ON RIGHT SIDE, “TRADEMARK S W, REG. U.S. PAT. OFF.”; INSCRIPTION STAMPED BELOW CYLINDER“MADE IN U.S.A.”; INSCRIPTION ON BASE OF HANDLE “611407”; INSCRIPTION ON RIGHT SIDE OF BARREL “.38 767 E.38 S&W CT6, 3.5 IONS”. REVOLVER HAS SILVER TRIGGER AND HAMMER; REVOLVER HAS STEEL CYLINDER RELEASE ON LEFT SIDE; REVOLVER HAS SIX CYLINDERS. STEEL BARREL AND CYLINDER HAVE MINOR WEAR TO FINISH; HANDLE HAS WEAR AROUND BASE; FRAME HAS MINOR SCRATCHES ON LEFT SIDE; OVERALL VERY GOOD CONDITION.
Subjects
ARMAMENT-FIREARM
Historical Association
PROFESSIONS
SAFETY SERVICES
History
ON MAY 29, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DUANE KING REGARDING HIS DONATION OF A REVOLVER. THE REVOLVER WAS USED BY POLICE OFFICERS IN PICTURE BUTTE, ALBERTA, AND WAS ACQUIRED BY KING FROM THE TOWN OF PICTURE BUTTE. ON THE REVOLVER, KING ELABORATED, “[THIS HANDGUN] BELONGED TO THE TOWN OF PICTURE BUTTE. I WAS HAVING COFFEE ONE DAY, IN FEBRUARY OF 1980, IN THE COFFEE SHOP IN PICTURE BUTTE, AND THE TOWN SECRETARY WAS THERE, AS USUAL, A WHOLE BUNCH OF US. HE SAID, “I HEAR YOU LIKE GUNS.” ONE THING LED TO ANOTHER, AND I PUT A BID IN [FOR THE HANDGUN], TO THE TOWN COUNCIL, AND THEY ACCEPTED IT. I ENDED UP WITH THE TWO GUNS. THE TOWN SECRETARY’S NAME WAS PIUS RIES. HE’S SINCE PASSED AWAY, BUT HE WAS A WELL-KNOWN MAN IN PICTURE BUTTE.” “THE [THE HANDGUN WAS ONE OF THE ONLY TWO GUNS] THAT THEY HAD. THEY ONLY HAD THE ONE POLICEMAN, AND I KNEW THE MAN WHEN I WAS A BOY GOING TO SCHOOL, GROWING UP. HIS NAME WAS BUCK GELDERT, AND, AS IT TURNS OUT, MY BROTHER-IN-LAW BOUGHT THE POLICE CAR, ONCE THEY GOT RID OF EVERYTHING. I BOUGHT THE GUNS MAINLY BECAUSE THEY WERE THE TOWN OF PICTURE BUTTE POLICE GUNS. NOT TOO MANY PEOPLE REALIZE THAT PICTURE BUTTE DID HAVE A POLICEMAN.” “[THE SMITH AND WESSON WAS A GUN] THAT POLICE FORCES WOULD HAVE USED. I WOULD IMAGINE THAT SMITH AND WESSON IS PROBABLY A VERY POPULAR POLICE GUN.” “THEY KNEW THAT I WAS INTERESTED IN GUNS. I HAD ALWAYS BEEN, SINCE A LITTLE BOY, HAD GUNS. [RIES] APPROACHED ME THAT DAY, AND I WENT TO LOOK AT THE GUNS. I MADE AN OFFER, TO TOWN COUNCIL, AND THEY ACCEPTED IT.” “I MADE A WRITTEN OFFER TO THE TOWN OF PICTURE BUTTE, AND THEY TOOK IT UP AT THEIR NEXT COUNCIL MEETING. THEN IT WAS ADVERTISED IN THE ‘SUNNY SOUTH NEWS’, THAT I HAD DONE THIS, THAT THEY HAD ACCEPTED MY OFFER, AND WHAT THE OFFER WAS. I WENT AND PICKED THE GUNS UP, GAVE THEM THEIR MONEY, AND I’VE HAD THEM EVER SINCE. I’VE NEVER SHOT THEM. THAT’S NOT WHY I BOUGHT THEM…I’VE JUST ALWAYS HAD THEM, AND LOVED THEM.” “[THE TOWN POLICE] MUST HAVE BEEN OUT OF THE TOWN HALL. I WENT TO SCHOOL WITH THE POLICEMAN’S SON, AND I KNEW HIS DAUGHTER. WE ALL WENT TO THE SAME SCHOOL, THE SAME CHURCH, THE SAME SUNDAY SCHOOL. I REMEMBER THE POLICEMAN, BUCK GELDERT. HE WAS A HUGE MAN, AND WHEN HE LEFT PICTURE BUTTE, HE WENT TO COALDALE, AND HE WORKED FOR THE COALDALE POLICE.” KING RECALLED GELDERT, NOTING, “HE HAD A UNIFORM, AND A POLICE CAR WITH A BIG RED SIREN, FLASHING LIGHT, ON THE ROOF…I DON’T REMEMBER HIM WALKING, BUT I REMEMBER HIM DRIVING AROUND TOWN, ESPECIALLY IN THE EVENINGS AND AT NIGHT. ONE NIGHT I WAS GOING HOME IN THE DARK, AND I HIT A HORSE, GRAVEL ROAD, AND I WRECKED THE TRUCK THAT I WAS DRIVING. [BUCK GELDERT] CAME AND HE GAVE ME A RIDE HOME. MY FOLKS WEREN’T ALL THAT HAPPY, BUT HE WAS THERE.” “I REMEMBER HIM PASSING OUT SPEEDING TICKETS. THEY HAD A COURTROOM, AND THEY HAD A JUSTICE OF THE PEACE, OR A MAGISTRATE. YOU WENT THERE TO PAY YOUR TRAFFIC TICKETS, BUT, OTHER THAN THAT, I DON’T REMEMBER ANY BIG CRIME.” “I DON’T KNOW HOW LONG HE WAS THERE IN PICTURE BUTTE. I HAVE NO WAY OF KNOWING THAT. I ONLY REMEMBER HIM BEING IN CHURCH ON SUNDAYS…I REMEMBER HIM BEING IN COALDALE, AND I DON’T KNOW WHEN THAT WAS, BUT IT HAD TO BE AROUND 1960.” KING ELABORATED ON HIS MOTIVATION FOR DONATING THE REVOLVER, STATING, “BECAUSE I’M GETTING OLDER, I WANT [THE REVOLVER] TO BE PRESERVED, AND THERE’S NO BETTER PLACE THAN A MUSEUM. I LIKE THE GALT, SO THAT’S WHY I CHOSE TO DO THIS RIGHT NOW. I JUST WANT THEM PRESERVED. THEY’RE IMPORTANT TO ME, AND I THINK THEY ARE IMPORTANT TO SOUTHERN ALBERTA.” “I WAS BORN, AND GREW UP [IN PICTURE BUTTE]; LIVED AND FARMED. MY FAMILY CAME TO PICTURE BUTTE IN 1929, AND I STILL HAVE FAMILY IN PICTURE BUTTE. PICTURE BUTTE IS WHY THEY ARE SO IMPORTANT TO ME.” “I HAD A LOT OF HANDGUNS [WHEN I LIVED ON THE FARM] AND I’VE GOTTEN RID OF MOST OF THEM…ONCE I MOVED TO THE CITY, I DIDN’T FEEL SAFE WITH THEM IN THE HOUSE. YOU GET BROKE INTO, SOMEBODY STEALS YOUR GUNS AND COMMITS A CRIME, AND IT GOES FROM THERE. I’M GETTING RID OF THE THINGS THAT I WORRY ABOUT, AND [THE] HANDGUN [IS] PART OF THAT. FOR [THIS REVOLVER] TO GO WHERE [IT’S] GOING IS VERY IMPORTANT TO ME.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, WARREN “BUCK” GELDERT BEGAN HIS CAREER IN POLICING WITH THE R.C.M.P. AT THE AGE OF 19. GELDERT SERVED WITH THE LETHBRIDGE POLICE SERVICE BEFORE BEING NAMED CHIEF CONSTABLE FOR THE TOWN OF PICTURE BUTTE IN 1955. GELDERT REMAINED CHIEF CONSTABLE UNTIL 1967, WHEN HE ACCEPTED A POSITION AS RECREATION DIRECTOR IN COALDALE, ALBERTA. KING PURCHASED THE SMITH AND WESSON REVOLVER, AND A .38 COLT IN FEBRUARY, 1980 FROM THE TOWN OF PICTURE BUTTE FOR $175, AND HAD BOTH REVOLVERS REGISTERED IN 1980. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20180013000-GA.
Catalogue Number
P20180013000
Acquisition Date
2018-05
Collection
Museum
Images
Less detail
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, PAINT, CARDBOARD
Catalogue Number
P20190006001
  2 images  
Material Type
Artifact
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Materials
WOOD, PAINT, CARDBOARD
No. Pieces
1
Length
38.2
Width
48.4
Description
OIL ON WOOD PANEL PAINTING IN BROWN WOODEN FRAME. PAINTING DEPICTS TWO CLUSTERS OF TREES WITH GREEN AND YELLOW-ORANGE LEAVES, WITH A BROWN FOREGROUND AND BLUE BACKGROUND. BACKGROUND HAS TWO TONES OF BLUE DEPICTING HILLS AND SKY. FOREGROUND HAS RED AND GOLD TONES. BRUSH STROKES ARE DISTINCT SHOWING GRASS IN FOREROUND; PAINTING HAS PAINT APPLIED HEAVILY TO YELLOW-ORANGE TREE LEAVES. PAINTING IS SIGNED IN BLUE IN FRONT LOWER RIGHT CORNER OF CANVAS “M. PISKO”. FRAME AROUND CANVAS IS BROWN WITH DOUBLE-CIRCLES ENGRAVED BETWEEN DOUBLE LINES ALONG TRIM; FRAME HAS FOUR SCREWS LOCATED AT UPPER AND LOWER LEFT AND RIGHT CORNERS. BACK OF FRAME HAS CARDBOARD BACKING SECURED TO WOODEN FRAME WITH SILVER TAPE. CARDBOARD BACKING HAS WHITE LABEL ON LEFT SIDE WITH HANDWRITTEN TEXT IN BLACK INK “MIKE PISKO, 1998 $100.00”; CARDBOARD BACKING HAS HANDWRITTEN TEXT IN PENCIL IN UPPER LEFT CORNER “TRUCK [UNDERLINED], 01 0066”. FRONT OF CANVAS HAS YELLOW DISCOLORATION AND STAINING IN UPPER LEFT AND RIGHT CORNERS. FRONT OF FRAME HAS MINOR CHIPPING AND DENTS ALONG OUTER EDGES. CARDBOARD BACKING HAS BROWN AND BLUE STAINING; BACK OF FRAME HAS WHITE STAINING ALONG LOWER LEFT EDGE, AND BLUE STAINING AT UPPER LEFT EDGE; UPPER RIGHT EDGE OF FRAME IS SPLITTING ALONG SEAM. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “I HAVE NO MEMORY OF [KNOWING PISKO OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” IN 2014, COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON MICHAEL PISKO WAS FOUND IN A PRESS RELEASE ANNOUNCING THE 'MICHAEL PISKO MEMORIAL AWARD', WHICH WAS ESTABLISHED BY THE ARTIST'S WIDOW AND THE ALBERTA SOCIETY OF ARTISTS IN 2000, TO BE AWARDED TO A GRADUATING BFA DEGREE PAINTER FROM THE UNIVERSITY OF LETHBRIDGE: "MICHAEL PISKO WAS BORN IN LETHBRIDGE IN 1913. HE MADE HIS LIVING AS A SUCCESSFUL SIGN PAINTER THROUGH HIS BUSINESS, CITY SIGN COMPANY, BUT LANDSCAPE PAINTING WAS HIS LIFE'S FULFILLMENT. TO HONE HIS SKILLS, HE STUDIED THREE SUMMERS AT THE BANFF SCHOOL OF FINE ARTS AND SOUGHT INSTRUCTION FROM SENIOR VISITING ARTISTS WHO CAME TO LETHBRIDGE ON INVITATION OF THE LETHBRIDGE SKETCH CLUB, OF WHICH HE, IN 1937, WAS ONE OF THE FOUNDING MEMBERS. PISKO GREATLY ADMIRED A.Y. JACKSON, THE GROUP OF SEVEN MASTER, WITH WHOM HE HAD THE OPPORTUNITY TO SKETCH AND PAINT AROUND LETHBRIDGE WHENEVER JACKSON CAME TO TOWN TO VISIT HIS BROTHER. HE WAS ALSO DEEPLY INFLUENCED BY H.G. GLYDE, WHO TAUGHT AT THE ALBERTA COLLEGE OF ART IN CALGARY AND AT THE BANFF SCHOOL OF FINE ARTS AND WHO VISITED LETHBRIDGE TO TEACH ART CLASSES AT THE LETHBRIDGE SKETCH CLUB. IN 1947 PISKO WAS ACCEPTED FOR MEMBERSHIP IN THE ALBERTA SOCIETY OF ARTISTS. HE WAS A PROLIFIC PAINTER, WHO EXHIBITED REGULARLY WITH THE LETHBRIDGE SKETCH CLUB AND THE ALBERTA SOCIETY OF ARTISTS. HIS WORK IS REPRESENTED IN MANY PRIVATE, CORPORATE AND PUBLIC COLLECTIONS, AMONG THEM THE ALBERTA FOUNDATION FOR THE ARTS AND THE UNIVERSITY OF LETHBRIDGE. MICHAEL PISKO PASSED AWAY IN 1999." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006001
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Material Type
Artifact
Materials
WOOD, PAINT, PAPER
Catalogue Number
P20190006002
  2 images  
Material Type
Artifact
Other Name
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Materials
WOOD, PAINT, PAPER
No. Pieces
1
Height
34.2
Length
49.3
Description
OIL ON WOOD PANEL PAINTING IN WHITE WOODEN FRAME. IMAGE OF TREES AND HOUSES IN SNOW, WITH SIDE OF BUILDING AT LEFT EDGE AND HOUSE PILLAR AT RIGHT EDGE; HOUSES WHITE WITH RED-BROWN ROOFS IN BACKGROUND, AND TREES IN FOREGROUND. SNOW COMPRISED OF BLUE AND WHITE PAINT; TREES COMPLETED IN BLACK, GREEN, BROWN AND ORANGE TONES; HOUSE PILLAR AND SIDING IN BROWN AND GREEN. PAINTING SIGNED IN RED IN LOWER LEFT CORNER “E.E. RIETHMAN”. MID-GROUND HAS BROWN FENCE BETWEEN TREES AND BUILDINGS IN BACKGROUND. FRONT OF FRAME HAS WHITE TRIM ALONG FRONT OF CANVAS, WITH GOLD TRIM ABOVE WHITE TRIM; FRAME PAINTED OFF-WHITE. BACK OF PAINTING HAS BROWN PAPER BACKING WITH TWO BLACK METAL SCREW ON UPPER LEFT AND RIGHT SIDES, WITH WHITE CORD FASTENED TO SCREWS. LEFT EDGE OF BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER “OWNED BY H. FLAIG 3279791, NF5”; BACKING HAS STAMPED TEXT IN FADED INK ALONG LOWER EDGE “GAINSBOROUGH GALLERIES, 310 – 7TH ST. SOUTH – LETHBRIDGE”. BACKING HAS WHITE PAPER LABEL AT UPPER EDGE WITH HANDWRITTEN TEXT IN BLACK INK “$20.00 /1970”; BACKING HAS PRINTED ARTICLE IN CENTER ON WHITE PAPER WITH BLACK TEXT “ERNEST E. RIETHMAN, EXHIBITION APRIL 25 – MAY 31 ORGANIZED BY THE SOUTHERN ALBERTA ART GALLERY WITH FUNDING ASSISTANCE FROM THE ALBERTA ART FOUNDATION…” WITH BIOGRAPHY ON ERNEST E. RIETHMAN BY “BRENT LAYCOCK, GUEST CURATOR” AND BLACK AND WHITE PHOTO “WATERTON LAKE, C.1958, OIL ON PANEL, 56 X 86 CM, COLLECTION OF MR. AND MRS. DON AND JUDY NILSSON, PHOTO: DON CORMAN”. PAPER BACKING HAS TEARS BESIDE SCREWS; BACKING HAS YELLOWED MASKING TAPE ALONG LOWER EDGE OF PAPER ARTICLE; ARTICLE EDGES STAINED YELLOW FROM ADHESIVE RESIDUE. BACK OF FRAME HAS PAIRS OF METAL NAILS IN UPPER AND LOWER LEFT AND RIGHT CORNERS, WITH NAILS HEADS COVERED WITH BROWN PAINT. BACK OF FRAME IS STAINED AND CHIPPED AT EDGES AND CORNERS; FRONT OF FRAME HAS BROWN AND WHITE STAINING ALONG EDGES; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “ “VIEW FROM THE PORCH” WOULD HAVE BEEN UP IN THE HOUSE FOR QUITE A WHILE. THAT’S VERY FAMILIAR TO ME. IT’S CERTAINLY THE STYLE OF [ART] THAT THEY WOULD DO. MOM WAS ALWAYS MENTIONING THE OIL. IT’S THE KIND OF [ART] THEY WOULD HAVE DONE, THAT THEY WOULD HAVE LIKED.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007.ERNEST EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
P20190006002
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
METAL, GLASS, PAPER
Catalogue Number
P20190006003
  2 images  
Material Type
Artifact
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Materials
METAL, GLASS, PAPER
No. Pieces
1
Length
42.7
Width
51.3
Description
PENCIL SKETCH ON PAPER INSIDE FRAME WITH METAL EDGES AND GLASS COVERING. SKETCH OF A SMALL CHILD ASLEEP HOLDING A DOLL, WITH A REVOLVER BESIDE THE DOLL. SKETCH UNSIGNED, ATTRIBUTED TO E.E. RIETHMAN. SKETCH INSIDE WHITE MATTE WITH BLACK INNER TRIM, WITH GLASS FRONT TO FRAME. FRAME SILVER METAL WITH FLORAL PATTERNED TRIM AROUND INSIDE. BACK OF FRAME HAS BROWN PAPER BACKING WITH SILVER LOOP-SCREW AT LEFT AND RIGHT EDGES, WITH SILVER METAL WIRES ATTACTED TO SCREWS. BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER AT UPPER LEFT CORNER “BY E. RIETHMAN” AND HANDWRITTEN TEXT IN BLACK MARKER AT LOWER-MIDDLE “OWNED BY H. FLAIG, 3279791, NF5.”. LOWER EDGE OF BACKING HAS WHITE LABEL WITH BLACK PRINTED TEXT “M.G.M. WALL DÉCOR, 317 – 4TH ST. SOUTH, LETHBRIDGE, AB, 328-0923” AND HANDWRITTEN TEXT IN BLACK INK ON LABEL “$120.00”. BACKING HAS FOLDED CORNER IN UPPER LEFT CORNER, AND TEAR IN PAPER AT LOWER RIGHT CORNER. FRONT OF SKETCH HAS GREEN STAINING AT RIGHT EDGE, BLUE-GREY STAIN AT LOWER LEFT EDGE, AND GREY STAINS ON LEFT AND RIGHT SIDES OF IMAGE. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE SKETCH BY ERNEST RIETHMAN, FLAIG RECALLED, ““THE BOY AND THE TEDDY BEAR”, I WONDER IF MOM DIDN’T HAVE THAT BECAUSE SHE WAS THINKING OF ME. IT LOOKS A LITTLE BIT LIKE I MIGHT HAVE LOOKED, AS A KID, AND I WOULD HAVE BEEN VERY YOUNG AT THAT TIME I THINK THIS ONE WAS DONE.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007.ERNEST EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
P20190006003
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"1945 RED CROSS QUILT"
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170035000
  2 images  
Material Type
Artifact
Other Name
"1945 RED CROSS QUILT"
Date
1945
Materials
COTTON, WOOL
No. Pieces
1
Length
214
Width
168.5
Description
BLUE AND PINK QUILT WITH PATTERN OF 56 PINK DIAMONDS INTERLAID WITH BLUE DIAMONDS; PINK FABRIC DIAMONDS HAVE NAMES EMBROIDERED IN BLUE THREAD, LISTED BELOW. BLUE DIAMONDS HAVE AN EMBROIDERED FOUR PETAL DESIGN STITCHED IN FABRIC. QUILT HAS BLUE EMBROIDERED TEXT ON TWO CENTER DIAMONDS, “1945” AND “RED CROSS”. QUILT HAS FINISHED EDGES WITH PINK BORDERS. QUILT HAS FRAYING AND LOSS ON UPPER RIGHT EDGE; FABRIC AND EMBROIDERED TEXT IS FADED; QUILT HAS MINOR BROWN STAIN ON BACK AT LOWER EDGE; OVERALL VERY GOOD CONDITION. EMBROIDERED NAMES ON FRONT OF QUILT [ALPHABETICAL]: ANNAND, ASHMAN, BAILEY, BAKER, BARNES, BELL, BURNS, CARLSON, CARNELL, CHAMBERS, CHRISTIANSEN, CYNCH, DAYMON, DELANY, DEVEBER, DICKSON, DILATUSH, FALLON, FOSTER, GAIRNS, GIDDIE, GLADSTONE, GOBLE, GOING, GREGORY, HAGGLUND, HARRISON, HARWOOD, HATFIELD, HAUG, HINTON, HOLROYD, KEMMIS, KLOPPENBORG, MATKIN, MCEWEN, MCKENZIE, O’BRAY, PITTAWAY, PRESLEY, RACKETTE, REEVES, ROPER, SHERMAN, STEWART, STRATE, THOMAS, UDELL, WACHER, ZORN.
Subjects
ART
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
THE WATERTON PARK RED CROSS QUILT WAS CREATED BY WATERTON FAMILIES DURING THE SECOND WORLD WAR AND WAS EMBROIDERED WITH THE SURNAMES OF WATERTON RESIDENTS LIVING IN THE PARK DURING THE HOMEFRONT PERIOD. THE QUILT FEATURES 50 NAMES EMBROIDERED ON THE SURFACE, ALL SURNAMES OF WATERTON FAMILIES IN THE COMMUNITY DURING WORLD WAR 2 ACCORDING TO BERT PITTAWAY IN A LETTER TO THE WATERTON NATURAL HISTORY ASSOCIATION. THE QUILT WAS PART OF A RED CROSS SOCIETY INITIATIVE THAT SAW GLOBAL AND CANADIAN COMMUNITIES CREATE QUITS FOR SENDING OVERSEAS AND FOR RAISING FUNDS FOR THE RED CROSS. ACCORDING TO ONLINE INFORMATION FROM HALIFAX WOMEN’S HISTORY [HTTP://HALIFAXWOMENSHISTORY.CA/CANADIAN-COMFORT-QUILTS] AND ACTIVE HISTORY [HTTP://ACTIVEHISTORY.CA/2017/07/RED-CROSSES-AND-WHITE-COTTON-MEMORY-AND-MEANING-IN-FIRST-WORLD-WAR-QUILTS/], RED CROSS QUILTS WERE COMMONLY CREATED BY CANADIAN COMMUNITIES AS CIVILIAN CONTRIBUTIONS TO WAR EFFORTS DURING BOTH WORLD WARS. THE QUILTS WERE SENT TO THE RED CROSS FOR DISTRIBUTION TO FAMILIES DISPLACED BY THE WAR OVERSEAS AND TO REFUGEES; QUILTS WERE ALSO RAFFLED PUBLICLY IN COMMUNITIES TO RAISE FUNDS FOR QUILTING GROUPS AND THE RED CROSS. THE WATERTON QUILT WAS RAFFLED IN 1945 AND WON BY MARY PITTAWAY OF WATERTON. BERT PITTAWAY DONATED THE QUILT TO THE WATERTON NATURAL HISTORY ASSOCIATION FOR DISPLAY AT THE WATERTON HERITAGE CENTRE IN THE 1980S, IN MEMORY OF BERT’S PARENTS MARY AND JOHN EDWARD PITTAWAY. JOHN EDWARD PITTAWAY, FATHER OF JACK, BERTRAM, AND DENNIS PITTAWAY, BEGAN HIS MILITARY CAREER AS AN ARMY TRUMPETER IN AN IRISH MILITIA UNIT. J.E. PITTAWAY JOINED THE REGULAR ARMY IN NOVEMBER 1893, SERVING IN WORLD WAR 1 AND WORLD WAR 2, IN WORLD WAR 2 ACHIEIVING THE RANK OF BATTERY SERGEANT MAJOR. J.E. PITTAWAY MOVED TO WATERTON IN 1927 FROM IRELAND. J.E. PITTAWAY WORKED FOR THE PARKS DEPARTMENT AS A GARDENER AND THEN AS A CAMPGROUND CARETAKER. J.E. PITTAWAY DIED MARCH 13, 1956, WITH HIS FINAL TRIBUTE IN CALGARY ON MARCH 17, 1956. ACCORDING TO THE PARKS CANADA WEBSITE ON WATERTON NATIONAL PARK, MEMORY OF THE WARS WERE “…INSCRIBED ON LANDFORMS IN PLACE NAMES…AND THE CELEBRATION OF PEACE WAS GIVEN SYMBOLIC FORM IN THE ESTABLISHMENT OF THE WORLD’S FIRST INTERNATIONAL PEACE PARK IN 1932.” WATERTON NATIONAL PARK FEATURES LAKES, RIDGES, AND PEAKS NAMED WITH REFERENCES TO THE WORLD WARS, INCLUDING AVION RIDGE, FESTUBERT MOUNTAIN, AND MOUNT ALDERSON. IN 2017, THE WATERTON NATURAL HISTORY ASSOCIATION DISSOLVED AND REPRESENTATIVES FROM WATERTON LAKES PARK FACILITATED THE TRANSFER OF THE COLLECTIONS TO OTHER INSTITUTIONS. THE 1945 WATERTON QUILT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AS PART OF THE EFFORTS TO RE-HOME THE WATERTON NATURAL HISTORY ASSOCIATION’S COLLECTION. FOR MORE INFORMATION INCLUDING THE LETTER FROM BERT PITTAWAY, DONATION NOTES FROM THE WATERTON NATURAL HISTORY ASSOCIATION, INFORMATION FROM THE PARKS CANADA WEBSITE ON WATERTON LAKES PARK, AND NEWSPAPER CLIPPINGS ON THE PITTAWAY FAMILY, PLEASE SEE THE PERMANENT FILE P20170035000-GA.
Catalogue Number
P20170035000
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
"MASKINOGE #14"
Material Type
Artifact
Materials
CANVAS, PAINT, WOOD
Catalogue Number
P20190001008
  2 images  
Material Type
Artifact
Other Name
"MASKINOGE #14"
Date
2002
Materials
CANVAS, PAINT, WOOD
No. Pieces
1
Height
2.6
Length
28
Width
35.6
Description
OIL PAINTING ON CANVAS; PAINTING DEPICTS A LIGHT WHITE, PINK, AND GREY SKY WITH GREY-PINK MOUNTAINS IN THE BACKGROUND, PINK, BLUE, GREY, GREEN, AND BROWN HILLS IN THE MIDGROUND, AND WHITE AND RED TREES IN LOWER RIGHT CORNER ON YELLOW, WHITE, AND BROWN GRASS IN THE FOREGROUND. CANVAS PAINTING WRAPS AROUND THE EDGES OF THE FRAME; PAINTING IS SIGNED IN BLACK PAINT AT THE LOWER LEFT CORNER, “© KAREN BROWNLEE, 2002 34”. BACK OF PAINTING IS OPEN TO SHOW THE CANVAS WRAPPED AROUND AN UNPAINTED WOOD FRAME; CANVAS IS STAPLED TO THE FRAME AT CORNERS AND ON TOP AND LEFT SIDES. BACK HAS WIRE STRETCHED FROM LEFT EDGE TO THE RIGHT EDGE AND FASTENED WITH HOOKS IN WOOD FRAME. BACK OF CANVAS HAS BLACK MARKER TEXT, FROM LEFT TO RIGHT, “OIL ON CANVAS, 11” X 14”, KAREN BROWNLEE EOW #343, 34, MASKINONGE #14”. TOP EDGE OF FRAME HAS A WHITE CARD STAPLED TO THE UPPER RIGHT CORNER, WITH BLACK AND BLUE TEXT, “KAREN M. BROWNLEE, B.A., A.S.A., PUBLISHED, PROFESSIONAL VISUAL ARTIST & ILLUSTRATOR, PH: (403) 327-0519 EMAIL: KAREN@KARENBROWNLEE.COM, WEBSITE: WWW.KARENBROWNLEE.COM”, AND CARD FEATURES TWO IMAGES OF PAINTINGS. BACK OF CANVAS IS STAINED WITH PAINT AND HAS FRAYING EDGES; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘MASKINOGE #14’ PAINTING, BROWNLEE WROTE, “THIS OIL WAS PAINTED IN THE PICNIC SHELTER, WITH THE FLYING ANTS DESCRIBED IN THE WATERTON EN PLEIN AIR ARTIST STATEMENT.” “THE FOLLOWING IS A DESCRIPTION OF MY WATERTON EN PLEIN AIR WORK. THIS DESCRIPTION APPLIES TO: AUTUMN, BELLY RIVER AREA SW ALBERTA, 1996 AND CAMERON LAKE IN THE FALL, 1992.” “ONE OF MY CHINESE BRUSH PAINTING STUDENTS, DEE (TURNER) RYRIE) AND I BECAME FRIENDS IN THE EARLY 1980’S. SHE INVITED ME ANNUALLY OR SEMI-ANNUALLY (SPRING AND FALL) TO GO WITH HER TO THE FAMILY CABIN IN WATERTON TO LOCATION PAINT. WE DID THIS FOR MANY YEARS. IT WAS MARVELOUS…DEE AND I SPENT FIVE DAY WEEKS PER TIME.” “WE WOULD GET UP IN THE MORNING, HAVE OUR BREAKFAST AND PACK OUR LUNCH. PENDING THE WEATHER, AND WHERE WE WANTED TO PAINT: WE WOULD HEAD OFF TO THAT SITE, SET UP, AND PAINT FOR 4 - 6 HOURS…THEN, BACK TO HER PLACE FOR A NAP. WE WOULD PACK A SUPPER OR EAT AT THE CABIN; AND GO OFF FOR ANOTHER SESSION TO A DIFFERENT PLACE. THEN BACK TO HER CABIN FOR SHOWERS, CONVERSATION ART CRITIQUING, AND BED.” “WE WERE, AND ARE, VERY COMPATIBLE. ALTHOUGH ONE TIME, AT A DIFFERENT EN PLEIN AIR WEEK AT HINTON, I ALMOST ACCIDENTLY DRANK HER DIET COKE FROM THE COOLER. DEE CAUGHT ME, THE DIET COKE WAS IN MY HAND, AND NOT DRANK, SO ALL WAS WELL. IT WAS HER LAST DIET COKE, TO BOOT. SHE WOULD NEVER DRINK A DIET PEPSI. IT DIDN’T MATTER TO ME WHICH DIET POP I CONSUMED, BUT IT SURE MATTERED TO HER. WE LAUGHED ABOUT THIS AT THE TIME, AND TO THIS DAY.” “ON COOL DAYS, WE WOULD TRY TO FIND A PICNIC SHELTER WITH GLASS WINDOWS AND A DOOR, AND TABLES. THEY WERE FEW AND FAR IN BETWEEN AT THAT TIME…THE MOST MEMORABLE TIME FOR ME: WAS WHEN WE PAINTED IN THE PICNIC SHELTER IN MASKINOGE, SOUTH OF THE HIGHWAY INTO THE PARK.” “IT WAS COOL /COLD, WITH A WIND, AND A FEW SNOWFLAKES—THE THIRD WEEK IN SEPTEMBER. WE STOKED A FIRE IN THE CAMP KITCHEN, AND IT KEPT US AND NICE AND TOASTY. WE WERE STILL ALL BUNDLED UP IN HOODIES AND WINTER CLOTHING…I NOTICED A FEW BUGS ON THE INSIDE OF THE WINDOW. NO WORRIES, WE WERE LOCATION PAINTING. BUGS ARE THE NORM. YOU PICK THEM OUT OF YOUR PAINTING, AND CARRY ON. THE LIGHT ON THE MOUNTAINS HAD TO BE CAPTURED.” “DEE COMES UP TO ME, AND ASKED: ‘KAREN, HAVE YOU NOTICED HOW MANY FLYING ANTS THERE ARE ON THE INSIDE OF THE WINDOWS.’…IT TURNED OUT THAT WE HAD STOKED THAT CAMP KITCHEN FOR FIVE HOURS OR SO. COMPLETELY HEATED UP THE CONCRETE AROUND IT. WAKING UP THE NEST OF FLYING ANTS! EACH WINDOW PANE WAS COVERED WITH HUNDREDS OF ANTS! AND, THEY WERE POURING OUT IN RIVERS FROM THE BASE OF THE COOK STOVE!” “NEEDLESS TO SAY, WE: PUT THE FIRE OUT, AND PACKED UP IN A HURRY. ANOTHER EN PLEIN AIR STORY FOR THE BOOKS…MOSTLY, WE STAYED IN THE WATERTON INTERNATIONAL PEACE PARK. OCCASIONALLY, WE WENT SOUTH OR NORTH OF THE PARK TO PAINT.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001008
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"BELLY RIVER AREA S.W."
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001001
  1 image  
Material Type
Artifact
Other Name
"BELLY RIVER AREA S.W."
Date
1996
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
38.3
Width
57.7
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DEPICTS A BLUE, YELLOW, AND PINK SKY IN THE BACKGROUND, WITH RED-BROWN AND GREEN HILLS, GREEN TREES AND HILLS IN THE MIDGROUND, AND YELLOW, ORANGE, RED, AND BROWN TREES ON GREEN GRASS IN THE FOREGROUND. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING IS SIGNED IN BLACK PAINT AT THE LOWER RIGHT CORNER, “KAREN BROWNLEE 1996 ©, BELLY RIVER AREA S.W. NO #1”. PAINTING HAS PENCILED TEXT ALONG LOWER EDGE/BORDER, “AUTUMN, BELLY RIVER AREA S.W. AD 41, 1996 © KAREN BROWNLEE IMAGE SIZE 12” X 18”, WINSOR & NEWTON WATERCOLOR A+AA, ON 300LB ARCHES, PAINTED ON LOCATION, EOW #220”. BACK HAS ADHESIVE TAPE RESIDUE AT CORNERS; FRONT HAS MINOR STAINING AT LOWER LEFT CORNER; LEFT, UPPER, AND RIGHT EDGES OF PAPER WERE TORN AND HAVE MINOR RESULTING FRAYING; PAPER HAS STAMP IN UPPER RIGHT CORNER, “ARCHES”; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘BELLY RIVER AREA S.W.’ PAINTING, BROWNLEE WROTE, “THIS PAINTING IS STARTED ON SITE, JUST OFF THE HIGHWAY THAT LEADS TO THE U.S. AUTUMN BELLY RIVER AREA WAS FINISHED IN THE STUDIO. IT WAS THE THIRD WEEK IN SEPTEMBER. THE COLORS WERE GREAT. THE SNOW HAD YET TO FALL. THE WIND HAD NOT BLOWN OFF THE BEAUTIFULLY COLORED LEAVES. “THE FOLLOWING IS A DESCRIPTION OF MY WATERTON EN PLEIN AIR WORK. THIS DESCRIPTION APPLIES TO: AUTUMN, BELLY RIVER AREA SW ALBERTA, 1996 AND CAMERON LAKE IN THE FALL, 1992.” “ONE OF MY CHINESE BRUSH PAINTING STUDENTS, DEE (TURNER) RYRIE) AND I BECAME FRIENDS IN THE EARLY 1980’S. SHE INVITED ME ANNUALLY OR SEMI-ANNUALLY (SPRING AND FALL) TO GO WITH HER TO THE FAMILY CABIN IN WATERTON TO LOCATION PAINT. WE DID THIS FOR MANY YEARS. IT WAS MARVELOUS…DEE AND I SPENT FIVE DAY WEEKS PER TIME.” “WE WOULD GET UP IN THE MORNING, HAVE OUR BREAKFAST AND PACK OUR LUNCH. PENDING THE WEATHER, AND WHERE WE WANTED TO PAINT: WE WOULD HEAD OFF TO THAT SITE, SET UP, AND PAINT FOR 4 - 6 HOURS…THEN, BACK TO HER PLACE FOR A NAP. WE WOULD PACK A SUPPER OR EAT AT THE CABIN; AND GO OFF FOR ANOTHER SESSION TO A DIFFERENT PLACE. THEN BACK TO HER CABIN FOR SHOWERS, CONVERSATION ART CRITIQUING, AND BED.” “WE WERE, AND ARE, VERY COMPATIBLE. ALTHOUGH ONE TIME, AT A DIFFERENT EN PLEIN AIR WEEK AT HINTON, I ALMOST ACCIDENTLY DRANK HER DIET COKE FROM THE COOLER. DEE CAUGHT ME, THE DIET COKE WAS IN MY HAND, AND NOT DRANK, SO ALL WAS WELL. IT WAS HER LAST DIET COKE, TO BOOT. SHE WOULD NEVER DRINK A DIET PEPSI. IT DIDN’T MATTER TO ME WHICH DIET POP I CONSUMED, BUT IT SURE MATTERED TO HER. WE LAUGHED ABOUT THIS AT THE TIME, AND TO THIS DAY.” “ON COOL DAYS, WE WOULD TRY TO FIND A PICNIC SHELTER WITH GLASS WINDOWS AND A DOOR, AND TABLES. THEY WERE FEW AND FAR IN BETWEEN AT THAT TIME…THE MOST MEMORABLE TIME FOR ME: WAS WHEN WE PAINTED IN THE PICNIC SHELTER IN MASKINOGE, SOUTH OF THE HIGHWAY INTO THE PARK.” “IT WAS COOL /COLD, WITH A WIND, AND A FEW SNOWFLAKES—THE THIRD WEEK IN SEPTEMBER. WE STOKED A FIRE IN THE CAMP KITCHEN, AND IT KEPT US AND NICE AND TOASTY. WE WERE STILL ALL BUNDLED UP IN HOODIES AND WINTER CLOTHING…I NOTICED A FEW BUGS ON THE INSIDE OF THE WINDOW. NO WORRIES, WE WERE LOCATION PAINTING. BUGS ARE THE NORM. YOU PICK THEM OUT OF YOUR PAINTING, AND CARRY ON. THE LIGHT ON THE MOUNTAINS HAD TO BE CAPTURED.” “DEE COMES UP TO ME, AND ASKED: ‘KAREN, HAVE YOU NOTICED HOW MANY FLYING ANTS THERE ARE ON THE INSIDE OF THE WINDOWS.’…IT TURNED OUT THAT WE HAD STOKED THAT CAMP KITCHEN FOR FIVE HOURS OR SO. COMPLETELY HEATED UP THE CONCRETE AROUND IT. WAKING UP THE NEST OF FLYING ANTS! EACH WINDOW PANE WAS COVERED WITH HUNDREDS OF ANTS! AND, THEY WERE POURING OUT IN RIVERS FROM THE BASE OF THE COOK STOVE!” “NEEDLESS TO SAY, WE: PUT THE FIRE OUT, AND PACKED UP IN A HURRY. ANOTHER EN PLEIN AIR STORY FOR THE BOOKS…MOSTLY, WE STAYED IN THE WATERTON INTERNATIONAL PEACE PARK. OCCASIONALLY, WE WENT SOUTH OR NORTH OF THE PARK TO PAINT.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001001
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"SHAUGHNESSY HOTEL #3, BUNNIES + BIKES"
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001002
  1 image  
Material Type
Artifact
Other Name
"SHAUGHNESSY HOTEL #3, BUNNIES + BIKES"
Date
2007
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
57.8
Width
76.7
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DEPICTS A BLUE SKY WITH CLOUDS AND GREEN TREES IN BACKGROUND, GREEN AND WHITE BUILDING IN MIDGROUND WITH RED AND WHITE SIGN “SHAUGHNESSY HOTEL” AND BLACK AND WHITE SIGN “ROOMS FOR RENT $250/MO JAM SESSIONS $3 COVER” AND MEN GATHERED OUTSIDE BESIDE PARKED MOTORCYCLES, AND FOREGROUND SHOWING A MAN KNEELING BESIDE A MOTORCYCLE ON A DIRT STREET, WITH TWO BROWN-BLACK RABBITS IN LOWER RIGHT CORNER. PAINTING IS SIGNED IN BLACK PAINT AT LOWER RIGHT EDGE, “© KAREN BROWNLEE 2007, SHAUGHNESSY HOTEL #3, BUNNIES + BIKES”. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING HAS INVERTED STAMP IN UPPER LEFT CORNER, “AQUARELLE ARCHES”. BACK OF PAINTING HAS MINOR STAINING; EDGES OF PAPER WERE TORN AND HAVE MINOR RESULTING FRAYING; FRONT HAS MINOR PAINT LOSS AT LOWER EDGE; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘SHAUGHNESSY HOTEL #3, BIKERS AND BUNNIES’ PAINTING, BROWNLEE WROTE, “MY MOTHER’S SISTER AND HER HUSBAND (DOT “DOC” AND HELEN PETERSON) OPERATED THE GARAGE NORTH OF THE SHAUGHNESSY HOTEL. IT WAS A VERY FAMILIAR PLACE TO ME BECAUSE MY AUNTY HELEN FREQUENTLY BABYSAT ME. I REMEMBER GETTING GAS AT THE STATION, AND ASKING MY PARENTS/AUNTY HELEN FOR CHOCOLATE BARS AND OTHER TREATS.” “THE SHAUGHNESSY HOTEL AND GARAGE SHARED THE SAME GRAVEL PARKING AREA. THE SHAUGHNESSY HOTEL WAS A LANDMARK, IT ANSWERED THE CHILDHOOD QUESTION OF ‘WHEN ARE WE GOING TO GET THERE.’ THE PLACE WAS FULL OF CARS, MOTORCYCLES, AND PEOPLE COMING AND GOING. SOMETIMES THEY’D COME TO MY UNCLE’S GARAGE FOR GAS.” “I HAD ALWAYS MEANT TO STOP AND PHOTOGRAPH THE SHAUGHNESSY HOTEL. ONE SUNDAY, WHILE DRIVING OUR SON, LOGAN, TO A HOCKEY GAME IN PICTURE BUTTE: WE WERE EARLY ENOUGH FOR ME TO STOP, AMIDST THE BOYS COMPLAINTS. HOW DOES A PARENT COMPARE TO A FUN HOCKEY DRESSING ROOM FULL OF BOYS?” “THERE WAS NO ONE AROUND THE HOTEL. IT WAS STILL EARLY AUTUMN, OCTOBER 2006 AND THE TREES HAD FOLIAGE. I COMPOSED A FEW POINT AND SHOOT SHOTS, AND OFF TO THE RINK WE WENT.” “JAN. 9, 2007 THE SEVENTY YEAR OLD SHAUGHNESSY HOTEL BURNED TO THE GROUND. I FELT COMPELLED TO PAINT THE HOTEL, AND MADE A TRIP OUT TO THE GENERAL STORE ACROSS THE STREET—WHICH HAD COFFEE AND TABLES FOR PEOPLE TO SIT DOWN AND CHEW THE FAT. THAT’S WHAT I DID. AND LEARNED HOW THE TOWN WAS OVERRUN WITH RABBITS—FROM A FEW DOMESTICATED ONES THAT FOUND FREEDOM SEVERAL YEARS AGO.” “THAT IS HOW I CAME TO PAINT MOTORCYCLES, PEOPLE, AND RABBITS IN THE FOREGROUND OF THE SHAUGHNESSY HOTEL. THE FOREGROUND OF THE PAINTING DID NOT EXIST IN MY PHOTOGRAPHS. I ADDED PEOPLE, MOTORCYCLES AND RABBIT.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001002
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"CAMERON LAKE IN FALL"
Material Type
Artifact
Materials
PAPER, PAINT, METAL
Catalogue Number
P20190001003
  1 image  
Material Type
Artifact
Other Name
"CAMERON LAKE IN FALL"
Date
1992
Materials
PAPER, PAINT, METAL
No. Pieces
1
Length
57.4
Width
76.2
Description
WATERCOLOUR ON PAPER; PAINTING DONE IN POINTILLISM STYLE DEPICTING A BLUE SKY AND BLUE-GREEN HILLS IN BACKGROUND, WITH GREEN, ORANGE, AND BLUE TREES ON GRASS ABOVE A BLUE LAKE IN THE MIDGROUND, AND GREEN, ORANGE, YELLOW, PURPLE, AND PINK TREES ON GRASS ABOVE THE LAKE IN THE FOREGROUND. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING IS SIGNED IN BLACK PAINT AT THE LOWER RIGHT CORNER, “CAMERON LAKE IN FALL, © KAREN BROWNLEE, 1992”. PAINTING HAS PENCILED TEXT ALONG THE LOWER EDGE/BORDER, “IMAGE SIZE 21” X 28”, WATERCOLOR + GOUACHE ON 300LB FABRIANO, CAMERON LAKE IN FALL, K. BROWNLEE, 1992 ©, EOW #163”. BACK OF PAINTING HAS MINOR LOSS IN PAPER AT LOWER LEFT CORNER; BACK HAS MINOR STAINING; BACK HAS ADHESIVE TAPE RESIDUE ALONG EDGES AND CORNERS; UPPER AND LOWER EDGES OF THE PAINTING ARE WORN; UPPER EDGE OF PAINTING HAS MINOR LOSS IN PAPER; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘CAMERON LAKE IN FALL’ PAINTING, BROWNLEE WROTE, “THIS PAINTING WAS STARTED ON LOCATION EN PLEIN AIR. THE LIGHT QUICKLY CHANGED, FORCING ME TO FINISH IT IN THE STUDIO.” “THE FOLLOWING IS A DESCRIPTION OF MY WATERTON EN PLEIN AIR WORK. THIS DESCRIPTION APPLIES TO: AUTUMN, BELLY RIVER AREA SW ALBERTA, 1996 AND CAMERON LAKE IN THE FALL, 1992.” “ONE OF MY CHINESE BRUSH PAINTING STUDENTS, DEE (TURNER) RYRIE) AND I BECAME FRIENDS IN THE EARLY 1980’S. SHE INVITED ME ANNUALLY OR SEMI-ANNUALLY (SPRING AND FALL) TO GO WITH HER TO THE FAMILY CABIN IN WATERTON TO LOCATION PAINT. WE DID THIS FOR MANY YEARS. IT WAS MARVELOUS…DEE AND I SPENT FIVE DAY WEEKS PER TIME.” “WE WOULD GET UP IN THE MORNING, HAVE OUR BREAKFAST AND PACK OUR LUNCH. PENDING THE WEATHER, AND WHERE WE WANTED TO PAINT: WE WOULD HEAD OFF TO THAT SITE, SET UP, AND PAINT FOR 4 - 6 HOURS…THEN, BACK TO HER PLACE FOR A NAP. WE WOULD PACK A SUPPER OR EAT AT THE CABIN; AND GO OFF FOR ANOTHER SESSION TO A DIFFERENT PLACE. THEN BACK TO HER CABIN FOR SHOWERS, CONVERSATION ART CRITIQUING, AND BED.” “WE WERE, AND ARE, VERY COMPATIBLE. ALTHOUGH ONE TIME, AT A DIFFERENT EN PLEIN AIR WEEK AT HINTON, I ALMOST ACCIDENTLY DRANK HER DIET COKE FROM THE COOLER. DEE CAUGHT ME, THE DIET COKE WAS IN MY HAND, AND NOT DRANK, SO ALL WAS WELL. IT WAS HER LAST DIET COKE, TO BOOT. SHE WOULD NEVER DRINK A DIET PEPSI. IT DIDN’T MATTER TO ME WHICH DIET POP I CONSUMED, BUT IT SURE MATTERED TO HER. WE LAUGHED ABOUT THIS AT THE TIME, AND TO THIS DAY.” “ON COOL DAYS, WE WOULD TRY TO FIND A PICNIC SHELTER WITH GLASS WINDOWS AND A DOOR, AND TABLES. THEY WERE FEW AND FAR IN BETWEEN AT THAT TIME…THE MOST MEMORABLE TIME FOR ME: WAS WHEN WE PAINTED IN THE PICNIC SHELTER IN MASKINOGE, SOUTH OF THE HIGHWAY INTO THE PARK.” “IT WAS COOL /COLD, WITH A WIND, AND A FEW SNOWFLAKES—THE THIRD WEEK IN SEPTEMBER. WE STOKED A FIRE IN THE CAMP KITCHEN, AND IT KEPT US AND NICE AND TOASTY. WE WERE STILL ALL BUNDLED UP IN HOODIES AND WINTER CLOTHING…I NOTICED A FEW BUGS ON THE INSIDE OF THE WINDOW. NO WORRIES, WE WERE LOCATION PAINTING. BUGS ARE THE NORM. YOU PICK THEM OUT OF YOUR PAINTING, AND CARRY ON. THE LIGHT ON THE MOUNTAINS HAD TO BE CAPTURED.” “DEE COMES UP TO ME, AND ASKED: ‘KAREN, HAVE YOU NOTICED HOW MANY FLYING ANTS THERE ARE ON THE INSIDE OF THE WINDOWS.’…IT TURNED OUT THAT WE HAD STOKED THAT CAMP KITCHEN FOR FIVE HOURS OR SO. COMPLETELY HEATED UP THE CONCRETE AROUND IT. WAKING UP THE NEST OF FLYING ANTS! EACH WINDOW PANE WAS COVERED WITH HUNDREDS OF ANTS! AND, THEY WERE POURING OUT IN RIVERS FROM THE BASE OF THE COOK STOVE!” “NEEDLESS TO SAY, WE: PUT THE FIRE OUT, AND PACKED UP IN A HURRY. ANOTHER EN PLEIN AIR STORY FOR THE BOOKS…MOSTLY, WE STAYED IN THE WATERTON INTERNATIONAL PEACE PARK. OCCASIONALLY, WE WENT SOUTH OR NORTH OF THE PARK TO PAINT.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001003
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"OLD MAN RIVER COLORS"
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001004
  1 image  
Material Type
Artifact
Other Name
"OLD MAN RIVER COLORS"
Date
$2,500.00
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
56.2
Width
75.6
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DEPICTS BLUE SKY AND GREEN, RED, YELLOW, AND WHITE TREES IN BACKGROUND, WITH TREES DONE IN POINTILISM STYLE, MIDGROUND AND FOREGROUND SHOW A LAKE IN YELLOW, GREEN, BLUE, PINK, ORANGE, AND WHITE POINTILISM STYLE. PAINTING SIGNED IN GREY PAINT AT LOWER RIGHT CORNER, “OLD MAN RIVER COLORS, 1991, © KAREN BROWNLEE”. PAINTING HAS PENCILED TEXT ALONG LOWER EDGE/BORDER, “IS 21” X 28”, OLDMAN RIVER COLORS, 1991-52 © EOW #134”; PAINTING HAS ERASED TEXT ON FRONT, “PERMANENT COLLECTION (FOR LOGAN). BACK HAS MINOR STAINING; FRONT HAS ADHESIVE TAPE RESIDUE AT CORNERS; UPPER AND LOWER EDGES OF PAPER WERE TORN AND HAVE MINOR RESULTING FRAYING; UPPER EDGE OF PAINTING HAS STAMP IN PAPER, “CM FABRIANO 100/100”; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘OLDMAN RIVER COLOURS’ PAINTING, BROWNLEE WROTE, “I HAVE CONSISTENTLY THROUGHOUT MY CAREER TAKEN NUMEROUS PHOTOGRAPHS OF THE OLD RIVER COULEES, ESPECIALLY IN THE FALL. THIS PAINTING IS DERIVED FROM ONE OF THOSE PHOTOGRAPHS.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001004
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"THE FIELDS ARE HIGH"
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001005
  1 image  
Material Type
Artifact
Other Name
"THE FIELDS ARE HIGH"
Date
1992
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
56.3
Width
75
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DONE IN POINTILLISM STYLE DEPICTING A BLUE SKY IN THE BACKGROUND ABOVE A BLACK BRIDGE AND BLUE RIVER, WITH GREEN AND YELLOW FARM FIELDS IN THE MIDGROUND AND FOREGROUND. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING IS SIGNED IN BLACK PAINT AT THE LOWER RIGHT CORNER, “THE FIELDS ARE HIGH, 1992, © KAREN BROWNLEE”. PAINTING HAS PENCILED TEXT ALONG THE LOWER EDGE/BORDER, “THE FIELDS ARE HIGH, MONARCH BRIDGE, W/C + GOUACHE ON 300LB ARCHES, IS 21” X 28”, K. BROWNLEE 1992 ©, EOW #166”. BACK OF PAINTING HAS ADHESIVE TAPE RESIDUE AT CORNERS AND ALONG EDGES; BACK HAS MINOR BLACK STAINING; LEFT, UPPER, AND RIGHT EDGES OF PAPER WERE TORN AND HAVE MINOR RESULTING FRAYING; PAINTING HAS MINOR WARPING OF PAPER IN UPPER RIGHT CORNER; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘THE FIELDS ARE HIGH, MONARCH BRIDGE’ PAINTING, BROWNLEE WROTE, “THE VIEW IS FROM THE SOUTH LOOKING NORTH. I HAD OFTEN SEEN THIS BRIDGE, WHICH SEEMED TO BE FORGOTTEN IN THE LANDSCAPE—COMPARED TO THE HIGH LEVEL BRIDGE IN LETHBRIDGE. ONE DAY, I WAS ABLE TO STOP ALONG THE HIGHWAY AND TAKE SEVERAL SHOTS OF IT.” “IT IS DERIVED FROM ONE OF MY PHOTOGRAPHS. I AM A POINT AND SHOOT PHOTOGRAPHER, EVEN THOUGH A FEW OF MY PHOTOGRAPHS HAVE BEEN PUBLISHED.” “I ADD THE DOTS OF COLOR TO ENLIVEN LARGE SHAPES OF FIELDS. THE CAMERA, FOR ME, DOES NOT CAPTURE THE VARIETY OF COLOR AND EMOTIONS THAT I FEEL WHEN I LOOK UPON THE LANDSCAPE.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001005
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"WATER TRACTORS HENDERSON LAKE"
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001006
  1 image  
Material Type
Artifact
Other Name
"WATER TRACTORS HENDERSON LAKE"
Date
1994
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
38.3
Width
57.2
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DEPICTS THREE WATER TRACTORS IN RED, YELLOW BLUE AND GREEN ON A LAKE IN MIDGROUND, WATER WITH REFLECTION OF WATER TRACTORS IN FOREGROUND, AND BROWN DOCK WITH GREEN GRASS AND TREES IN BACKGROUND. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING IN SIGNED IN BLACK PAINT AT LOWER LEFT CORNER, “WATER TRACTORS HENDERSON LAKE, © KAREN BROWNLEE, 1994”. PAINTING HAS PENCILED TEXT ALONG LOWER EDGE, “EOW #137, IMAGE 12” X 18”, KAREN BROWNLEE, 1994 © WATER TRACTORS, H2O + GOUACHE, W+N AA+A ON 30016 ARCHES”. BACK HAS ADHESIVE TAPE RESIDUE ALONG EDGES; FRONT HAS YELLOW ADHESIVE RESIDUE FROM STICKY NOTE AT LOWER EDGE; LEFT AND RIGHT EDGES OF PAPER WERE TORN AND HAVE MINOR RESULTING FRAYING; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘WATER TRACTORS, HENDERSON LAKE’ PAINTING, BROWNLEE WROTE, “FOR A GOOD NUMBER OF YEARS, THESE WATER TRACTORS, WERE AVAILABLE FOR RENT TO GO PADDLING AROUND HENDERSON LAKE, LETHBRIDGE. THEY HELD TWO PEOPLE (MAYBE TWO ADULTS AND A CHILD). THE TRACTORS AND THEIR REFLECTIONS WERE BRIGHTLY COLOURED BLOBS ENTICINGLY WIGGLING ON THE WATER TO CATCH THE EYES OF CHILDREN.” “I FOUND THEM A GOOD CARDIO WORKOUT TO PEDDLE. MY SON, LOGAN AND I PADDLED AROUND A BIT. AND, I COULD NEVER GO FAST ENOUGH.” “I FREQUENTLY TOOK BOTH KIDS TO THE HENDERSON LAKE PLAYGROUND, ALMOST ALWAYS WITH MY CAMERA. THIS PAINTING IS DERIVED FROM ONE OF THESE PHOTOGRAPHS, IN MY STUDIO.” “THIS PAINTING REFLECTS THE HAPPINESS I FELT ON THOSE BEAUTIFUL DAYS WITH CHILDREN, THE SUN, AND NO TIME TABLE.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001006
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"BROCKET #1"
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001007
  1 image  
Material Type
Artifact
Other Name
"BROCKET #1"
Date
1996
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
38.5
Width
57.5
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DEPICTS A BLUE, PINK, PURPLE AND WHITE SKY IN THE BACKGROUND ABOVE BLUE HILLS, WITH ORANGE, BROWN, AND GREEN HILLS, WHITE AND GREEN GRAIN ELEVATORS AND BUILDINGS IN THE MIDGROUND BESIDE THREE WHITE AND BROWN TEEPEES, AND GREEN, BROWN, AND ORANGE GRASS AROUND A WHITE FENCE AND BROWN POWER LINE IN THE FOREGROUND. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING IS SIGNED IN GREY PAINT AT THE LOWER RIGHT CORNER, “KAREN BROWNLEE 1996 ©”. PAINTING HAS PENCILED TEXT ALONG LOWER EDGE/BORDER, “S16 BROCKET #1 1996 KAREN BROWNLEE ©, W+N A+AA ON 300LB ARCHES. IN REALITY THE TEEPEES WOULD APPEAR MUCH SMALLER THAN DEPICTED. THIS RESERVATION ON THE FOOTHILLS LOOKS OUT ONTO THE ROCKY MTN.’S IN THE BACKGROUND.” PAINTING HAS STAMP IN PAPER AT THE LOWER LEFT CORNER, “AQUARELLE ARCHES”. BACK OF PAINTING HAS ADHESIVE TAPE RESIDUE ALONG THE EDGES; BACK HAS MINOR BLACK STAINING; LEFT, LOWER, AND RIGHT EDGES OF PAPER WERE TORN AND HAVE MINOR RESULTING FRAYING; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘BROCKET #1’ PAINTING, BROWNLEE WROTE, “THE BROCKET ELEVATORS, TO ME, SEEMED MAJESTIC AGAINST THE BACKDROP OF THE ROCKY MOUNTAINS. FOR THIS PAINTING, I CIRCLED THE ELEVATORS, TAKING MANY SHOTS FROM DIFFERENT ANGLES. THIS IS A TECHNIQUE THAT I DID FOR ALL OF THE RURAL PRAIRIE COMMUNITIES PAINTINGS. OFTEN I WOULD ARRIVE WHEN THE LIGHT WAS NOT GOOD, THE CLOUDS WERE VERY THREATENING, ETC. MY TIME AVAILABILITY TO SHOOT THE ELEVATORS WERE SMALL WINDOWS FOR SEVERAL YEARS BEFORE MANY OF THE ELEVATORS WERE DEMOLISHED.” “ALL I REALLY NEEDED FROM THE PHOTOGRAPH WAS A RECORD OF THE ELEVATOR COMPANY, ITS STRUCTURES: ANNEXES, BINS, THE AGENT’S HOUSE, AND SO ON. I COULD INVENT THE LIGHT—WHICH I DO FOR ALL MY PAINTINGS.” “THIS PAINTING SHOWS A COMMUNITY VIEW OF THE BROCKET ELEVATORS. IT IS FROM THE SOUTH EAST LOOKING NORTHWEST.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001007
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"FOREMOST #1"
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001009
  1 image  
Material Type
Artifact
Other Name
"FOREMOST #1"
Date
1996
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
38.1
Width
57.2
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DEPICTS A DIRT ROAD IN FOREGROUND, STREET SCENE WITH GREEN GRAIN ELEVATOR IN MIDGROUND, AND A TOWN SET AGAINST BLUE AND PURPLE SKY IN BACKGROUND. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING SIGNED AT LOWER RIGHT EDGE, “FOREMOST #1, KAREN BROWNLEE 1996 ©”. PAINTING HAS PENCILED TEXT ALONG LOWER EDGE/BORDER, “S#14, FOREMOST #1, 1996 © KAREN BROWNLEE, W+N A+AA ON 300LB ARCHES. THE CO-OP GAS STATION BY THE ELEVATOR CONTAINED SEVERAL LOCAL FARMERS AND HUTTERITES—THEY HAD BROUGHT [ILLEGIBLE] OR SOME FOR GAS, OR TO TOWN ON ERRANDS. THEY SAT DISCUSSING CROPS AND MACHINERY INSIDE”. PAINTING HAS PENCILED TEXT VERTICALLY ALONG RIGHT EDGE/BORDER, “PUBLISHED AB REMEMBERS, PG 121”. LOWER RIGHT CORNER HAS INVERTED STAMP IN PAPER, “AQUARELLE ARCHES”. BACK HAS TWO ROUND MARKS BELOW UPPER EDGE AND CORNERS; BACK HAS ADHESIVE TAPE RESIDUE ALONG LOWER EDGE; FRONT HAS MINOR TEAR IN PAPER ON LEFT EDGE/BORDER; LEFT AND RIGHT EDGES WERE TORN AND HAVE MINOR RESULTING FRAYING; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘FOREMOST #1’ PAINTING, BROWNLEE WROTE, “THE UGG ELEVATOR (WHITE ONE IN THE FOREGROUND) IS THE ELEVATOR THAT MY HUSBAND, RAY BROWNLEE, USED TO HAUL GRAIN TO WHEN HE WAS YOUNG. THE VIEW IS FROM THE EAST LOOKING WEST.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001009
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE #3"
Material Type
Artifact
Materials
PAPER, PAINT, LEAD
Catalogue Number
P20190001010
  1 image  
Material Type
Artifact
Other Name
"LETHBRIDGE #3"
Date
2000
Materials
PAPER, PAINT, LEAD
No. Pieces
1
Length
38.2
Width
57.5
Description
WATERCOLOUR PAINTING ON PAPER; PAINTING DEPICTS A WHITE, BLUE, AND PURPLE SKY IN THE BACKGROUND WITH “ATL” TOWER AND SURROUNDING BUILDINGS, STREET LAMPS, STREET SIGNS, AND CARS IN THE MIDGROUND, AND GRASS, A STREET LAMP, AND A CAR ON THE STREET IN THE FOREGROUND. PAINTING HAS GRID/BORDER LINES DRAWN IN PENCIL; PAINTING IS SIGNED IN WHITE PAINT AT THE LOWER RIGHT CORNER, “KAREN BROWNLEE, LETH #30596, MAY, 2000”. PAINTING HAS PENCILED TEXT ALONG THE LOWER EDGE/BORDER, “S96, KAREN BROWNLEE, LETHBRIDGE #3, MAY 2000. W+N A+AA ON 300LB ARCHES. THE VIEW OF THIS LARGE LANDMARK IS FROM THE INDUSTRIAL SECTION OF LETHBRIDGE, ON THE NORTH SIDE. THIS IS A VERY UNIQUE GRAIN TERMINAL ON THE ALBERTA PRAIRIES. FROM THE AIR OR BY LAND, IT IS VISIBLE + DISTINCTIVE”. BACK OF PAINTING HAS ADHESIVE TAPE RESIDUE; LEFT, UPPER, AND RIGHT EDGES OF PAPER WERE TORN AND HAVE MINOR RESIDUAL FRAYING; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON JANUARY 9, 2019, KAREN BROWNLEE SENT THE GALT MUSEUM & ARCHIVES AN ARTIST’S STATEMENT DETAILING THE ARTWORKS DONATED. ON THE ‘LETHBRIDGE #3’ PAINTING, BROWNLEE WROTE, “HIGHWAY 3 GOES PAST THIS BIG WHITE GRAIN TERMINAL. MY FAMILY HOME AFTER GRADE THREE WAS ON NEARBY DIEPPE BLVD. I GREW UP ALMOST IN THE SHADOW OF THIS TERMINAL.” “THE VIEW IS FROM THE SE LOOKING NW.” BROWNLEE NOTED, ON THE PAINTINGS, “THE WATERCOLOUR PAINT USED IN THE FOLLOWING ARTWORKS: ARE ALL “AA” OR “AAA” COLORS. THE HIGHEST PERMANENCY RATING THAT THE PAINT MANUFACTURES LIST ON THE COLOR TUBES. THE PAINT MANUFACTURERS USED ARE PRIMARILY: WINSOR NEWTON AND GRUMBACHER WATERCOLOURS AND GOUACHE.” “ALL WORKS (WITH THE EXCEPTION OF #8 MASKINOGE #14) WERE CREATED EITHER ON 300 LB. OR 400 LB. ARCHES WATERCOLOUR PAPER.” AN ARTIST BIOGRAPHY TAKEN FROM BROWNLEE’S WEBSITE [“ABOUT ME” HTTPS://KARENBROWNLEE.COM/ABOUT-ME/] NOTES, “KAREN’S TIES TO THE PRAIRIES OF SOUTHERN ALBERTA GO BACK FOUR GENERATIONS, ON HER MOTHER’S SIDE, TO THE 1880’S. ON HER HUSBAND’S SIDE; HIS MOTHER’S AND FATHER’S FAMILY’S FARMING HISTORIES GOES BACK TO A SIMILAR TIME PERIOD. A STRONG INFLUENCE ON KAREN’S INTEREST IN THE HISTORIC, CULTURAL LANDSCAPE WAS ORAL STORYTELLING. BOTH HER MOTHER AND MOTHER-IN-LAW ARE AND WERE FAMILY HISTORIANS. THEY SHARED WITH HER, THEIR FAMILY EXPERIENCE WITH THE LAND, THE HARDSHIPS AND TRIUMPHS, AND THE AMUSING, ENTERTAINING RECOUNTS OF EVERYDAY PEOPLE TRYING TO MAKE A LIVING OFF THE LAND. HER PAINTINGS DEAL WITH THE LOVE OF THE LAND AND THE ENTHUSIASTIC EFFORT OF THE GENERATIONAL TOIL OF MANY FARM PIONEER FAMILIES, INCLUDING HER OWN. HER PAINTINGS SPEAK OF THE RELEVANCE AND SYMBOLISM OF MAN’S HISTORIC RELATIONSHIP WITH THE LAND. KAREN RESIDES IN LETHBRIDGE, ALBERTA. “SHE HAS AN EXTENSIVE AND VARIED ARTS BACKGROUND AS A PAINTER, ART TEACHER, ART JUROR, AND ADMINISTRATOR.” (ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM, 10TH ANNIVERSARY EXHIBITION, 1996, POSTCARD PRODUCED BY THE PRAIRIE ART GALLERY, GRANDE PRAIRIE, ALBERTA) IN 1980 SHE BEGAN HER FULL TIME PROFESSIONAL ARTIST PRACTICE.” FOR MORE INFORMATION INCLUDING THE ARTIST’S CV AND STATEMENT ON THE ARTWORK, PLEASE SEE THE PERMANENT FILE P20190001001-GA.
Catalogue Number
P20190001010
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
BLACKWORK EMBROIDERY
Material Type
Artifact
Materials
COTTON, WOOD, GLASS
Catalogue Number
P20170033001
  2 images  
Material Type
Artifact
Other Name
BLACKWORK EMBROIDERY
Date
2011
Materials
COTTON, WOOD, GLASS
No. Pieces
1
Length
65
Width
42
Description
BLACKWORK EMBROIDERY IN MATTE AND FRAME. EMBROIDERY COMPLETED IN BROWN ON WHITE FABRIC, AND SHOWS THE 1910 GALT HOSPITAL FRONT. EMBROIDERY INSIDE BROWN AND GREY MATTE AND BROWN WOOD FRAME WITH GLASS OVER. FRONT OF FRAME HAS BLACK ENGRAVED PLAQUE ON BOTTOM EDGE READING “GALT HOSPITAL/MUSEUM & ARCHIVES, 1910, DESIGNED AND STITCHED, 2011, BELINDA CROWSON”. BACK OF FRAME COVERED IN BROWN PAPER WITH SILVER WIRE ATTACHED FOR HANGING. BACK OF FRAME HAS WHITE LABEL WITH TEXT “LA GALLERY CUSTOM FRAMING & ART, 421-5TH ST. SOUTH, LETHBRIDGE, AB T1J 2B6, PH. 380.4556, FAX 380.4562, WEBSITE WWW.THELAGALLERY.COM, EMAIL INFO@THELAGALLERY.COM, W/O # H0761, ASSEMBLED BY CM”” WITH CHECK BOXES ON LABEL FOR “MOUNTING METHOD” AND “GLASS”, “NON-GLARE GLASS” CHECKED. FRAME HAS CHIPS ON FRONT EDGES; BACK HAS TEARS IN PAPER BACKING. OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
ON NOVEMBER 16, 2017 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BELINDA CROWSON REGARDING HER DONATION OF A MUNICIPAL CAMPAIGN SIGN AND BLACKWORK EMBROIDERY PIECE. CROWSON WAS EMPLOYED WITH THE GALT MUSEUM AS THE MUSEUM EDUCATOR, WITH A REPUTATION AS A RENOWNED LOCAL HISTORIAN, UNTIL HER ELECTION TO CITY OF LETHBRIDGE COUNCIL IN 2017. ON THE BLACK EMBROIDERY PIECE, CROWSON RECALLED, “SHARING [THIS] WAS HARD, BECAUSE THIS WAS THE FIRST [PIECE] I DESIGNED…AND I VERY MUCH KNOW THE MEANING. IT WAS HANGING IN THE CLASSROOM [AT THE GALT MUSEUM] FOR YEARS, BUT IT WAS VERY HARD [TO GIVE UP], BECAUSE I DESIGNED IT; I STITCHED IT; AND IT’S A PIECE OF MYSELF.” “IT IS SOMETHING THAT I ACTUALLY DESIGNED, AND I HAD NEVER DESIGNED A PIECE BEFORE. I HAD TO LEARN HOW TO DESIGN IT, SO I ACTUALLY HAD A PICTURE AND GRAPH PAPER. I LEARNED HOW TO TAKE A PHOTOGRAPH, AND TURN IT INTO BLACKWORK STITCHES, EVEN THOUGH, OF COURSE, IT’S DONE IN BROWN, AND NOT BLACK. THE NAME DOESN’T ACTUALLY MEAN THE COLOR.” “BLACKWORK COMES FROM THE ELIZABETHAN TIME, AND IT WAS DONE WHEN LACE WAS REALLY EXPENSIVE. THEY WOULD TAKE BLACK THREAD ON WHITE MATERIAL. IF YOU DO BLACKWORK PROPERLY, IT’S ABSOLUTELY REVERSIBLE. IF YOU DID IT ON CUFFS OR COLLARS IT WOULD ALMOST LOOK LIKE LACE, AND BE REVERSIBLE FROM BOTH SIDES. IT’S A TYPE OF EMBROIDERY THAT USES PRIMARILY STRAIGHT LINES. I TAUGHT A CLASS TO PEOPLE AT THE GALT MUSEUM [ON] HOW TO DO BLACKWORK. I ACTUALLY TAUGHT AN EMBROIDERY CLASS IN THIS DESIGN, WHICH IS A VERY SIMPLE TYPE OF EMBROIDERY TO DO, BUT CAN CREATE INCREDIBLY ELABORATE DESIGNS.” “I COMPLETED [THIS PIECE] IN 2011 AND HAD IT FRAMED THAT SAME YEAR. IT’S SUEDE AROUND THE PICTURE MATTE.” “SOMETHING LIKE THIS SIZE OF PICTURE, IN BLACKWORK, PROBABLY ONLY TOOK ME ABOUT 2 WEEKS TO STITCH. IT’S A VERY QUICK DESIGN, BUT IT FILLS IN – AND, IF I WAS TO REDO IT AGAIN, I’D FILL IN MORE OF THE BLANK SPACES. [BLACKWORK IS] SUPPOSED TO LOOK AS COMPLETE AS POSSIBLE, BUT I WANTED TO MAKE THE COLUMNS STICK OUT, SO IT MAY HAVE WORKED IN THAT REGARD.” CROWSON ELABORATED ON HER BACKGROUND DOING EMBROIDERY, NOTING, “I HAVE BEEN DOING EMBROIDERY SINCE [I WAS] A KID. IT’S SOMETHING MY GRANDMOTHER KNEW; MY MOTHER KNEW; IT’S SOMETHING I WAS TAUGHT, AND, OF MY SIBLINGS, I’M THE ONLY ONE WHO DOES IT. THE OTHERS LIKE TO DO MORE STITCHING WITH MACHINES. I LOVE THE HAND-STITCHING, AND I HAVE LONG BEEN THINKING ABOUT DESIGNING. I ALSO HAVE A PASSION FOR HISTORIC BUILDINGS. I HAD DONE A BLACKWORK PIECE, WHICH WAS A PATTERN THAT I HAD BOUGHT AND I ABSOLUTELY LOVED IT. IT’S A REALLY NICE WAY OF DOING EMBROIDERY, SO I THOUGHT “THERE’S A WAY OF CAPTURING HISTORIC BUILDINGS IN A VERY DIFFERENT WAY.” I MADE MYSELF A CHALLENGE OF FIGURING IT OUT, AND, OF COURSE, THE WAY I DO MANY THINGS, I DIDN’T ACTUALLY RESEARCH HOW TO DESIGN. I JUST TAUGHT MYSELF, AND IT TOOK ME A WEEKEND. I THREW AWAY ABOUT 3 DESIGNS, UNTIL I REALIZED YOU’VE GOT TO START IN THE CENTER AND WORK OUT. THE NICE THING ABOUT THE GALT HOSPITAL—BECAUSE I DID THE FAÇADE OF THE HOSPITAL [IN THIS PIECE]—IS THAT IT IS SO BEAUTIFULLY SYMMETRICAL, IT MADE IT EASIER. I HAD…THE VARIEGATED THREAD, AND THE MATERIAL TO STITCH ON. THEN IT WAS A MATTER OF ACTUALLY CREATING IT. THE PATTERN HAD A LOT OF ERASING DONE ON IT, AS I CHANGED THINGS. I’M VERY PROUD OF THE WINDOWS…MY GOODNESS, THAT BUILDING HAS A LOT OF WINDOWS! IT WAS FUN, AND THIS WAS THE FIRST ONE [I MADE]. SINCE THEN I HAVE DONE GALBRAITH SCHOOL, THE BOWMAN, AND THE POST OFFICE. THE GALBRAITH SCHOOL IS HANGING AT GALBRAITH SCHOOL, THE BOWMAN IS IN MY HOUSE, AND THE POST OFFICE WAS RAFFLED OFF TO HELP RAISE MONEY FOR CHINATOWN.” “I REMEMBER, AS A KID, I WAS NOT SUPPOSED TO, BUT I WENT THROUGH ONE OF MY MOM’S JEWELRY BOXES. IN THERE WAS THE WORK SHE HAD DONE AS A KID. SHE HAD BEEN PRACTICING HER STITCHES. THAT STUCK WITH ME, AND I REMEMBER HER TALKING ABOUT HOW SHE HAD BEEN TAUGHT FROM HER MOM. MY GRANDMOTHER KEPT CROSS-STITCHING EMBROIDERY UNTIL HER ARTHRITIS GOT TOO BAD. WHEN I DO IT, I REALLY DO FEEL I AM PART OF THAT CHAIN, BECAUSE I DO HAVE EMBROIDERY THAT BOTH MY MOM AND MY GRANDMOTHER HAVE DONE. IT IS INTERESTING BECAUSE, FROM THE MENNONITE TRADITION ESPECIALLY, A LOT OF THE STITCHES I HAVE COME FROM THAT TRADITION, SO IT’S VERY MUCH A PART OF THAT. I WOULD LIKE TO SIT DOWN, ONE DAY WHEN I GET TIME, WITH MY MOM’S COUSIN, WHO DOES WHAT’S CALLED 3-D EMBROIDERING. IN MY FAMILY, PEOPLE ACTUALLY HAVE THE ORDERED EVERY DAY TEA TOWELS, THEY HAVE THE BED TOWELS. IT’S SUCH A PART OF THE SOUTHERN ART, SO MY [WORKS ARE] A LITTLE MORE MODERN INTERPRETATION OF SOME OF THAT. MY GREAT-GRANDMOTHER WOULD HAVE SAT IN RUSSIA, DOING THE SAME STITCHES.” “I DON’T KNOW [HOW MANY PEOPLE IN THE REGION ARE DOING BLACKWORK EMBROIDERY]. I TAUGHT THE CLASS IN … EMBROIDERY, BUT I DON’T THINK A LOT OF PEOPLE ARE PICKING UP BLACKWORK. IT’S INTERESTING, WHEN I MENTION THIS, TALKING TO SOME PEOPLE ONLINE, ONE OF MY FRIENDS WHO HAS A HISTORIC HOUSE IS LIKE, “COULD I PAY YOU TO DESIGN MY HOUSE?” [BLACKWORK EMBROIDERY] IS A FUN WAY FOR ME TO TAKE THOSE TWO IDEAS I LOVE-–OF STITCHING, AND HISTORIC BUILDINGS-–BECAUSE PHOTOGRAPHY, WITH WHAT PEOPLE HAVE TODAY, IS RELATIVELY EASY. YOU CAN TAKE POINT-AND-SHOOT. SOME PEOPLE ARE MUCH BETTER AT IT--THEY’RE ARTISTIC-–BUT THIS IS A WAY OF CAPTURING A BUILDING. YOU HAVE TO, VERY PERSONALLY, SIT THERE, AND BECAUSE YOU HAVE TO MEASURE EVERYTHING OUT, EVEN TO DESIGN IT, YOUR APPRECIATION OF THE ARCHITECTURE IS VERY DIFFERENT THAN A POINT-AND-SHOOT CAMERA.” “I’VE DONE FIVE BUILDINGS NOW, AND I HAVE SEEN EACH ONE IN A VERY DIFFERENT WAY. I REMEMBER THINKING, WITH THE POST OFFICE, WHEN YOU ACTUALLY LOOK AT THE HEIGHT OF THE CLOCK TOWER COMPARED TO THE BASE OF THE BUILDING, [YOU SEE THE] PHENOMENAL ARCHITECTURE, [BUT] IT’S ONLY WHEN YOU ARE STITCHING IT THAT YOU REALIZE THAT THE BASE OF THAT BUILDING ISN’T STRAIGHT. THE BUILDING GOES WITH THE SLANT OF THE SIDEWALK, AND I HAD TO TAKE AN ARTISTIC EYE, AND MAKE THE BOTTOM OF THE BUILDING STRAIGHT FROM THE FRONT. THE OTHER THING, WITH THE POST OFFICE, THERE’S ALMOST NO HISTORIC [PHOTOGRAPHS] OF IT STRAIGHT-ON; IT’S ALWAYS ON THE CORNER, BECAUSE THAT’S EASIER. I CAN’T CROSS-STITCH MY BUILDING ON THE CORNER, SO I HAD TO ACTUALLY TAKE MY OWN PHOTOGRAPHS, INSTEAD OF HISTORICAL PHOTOGRAPHS. THIS HAS REALLY GIVEN ME A NEW APPRECIATION OF THE BUILDINGS, BECAUSE I HAD TO LOOK AT THEM SO CAREFULLY. WITH THE BOWMAN—WITH ALL THESE BUILDINGS--YOU HAD TO THINK WHAT TIME PERIOD YOU WANTED TO DISPLAY. SO THE ONE OF THE BOWMAN, I HAVE THE UNION JACK FLYING [IN] THE PICTURE, BECAUSE I WANTED [TO CAPTURE] IT BACK WHEN IT WAS ORIGINALLY CREATED.” “IT’S AN ADDICTION. YOU SIT IN FRONT OF THE TELEVISION, AND SOMETIMES A WEEKEND PASSES AND YOU HAVEN’T DONE MUCH. WHEN YOU’RE WORKING ON A PROJECT, FOR MYSELF, IT’S LIKE, “I’M GOING TO GET IT DONE.” THEN YOU TAKE A BREAK BEFORE YOU PICK UP THE NEXT PROJECT, SO YOU CAN DO ALL THE OTHER STUFF. TRYING TO PUT [AN ESTIMATE OF TIME SPENT CREATING] IT, I WOULDN’T HAVE A CLUE.” “I THINK EVERYBODY [HAS] MULTI-FACETS IN THEIR BRAINS, AND I USE DIFFERENT PARTS OF IT. IT’S ALWAYS FUN TO CHALLENGE, TO TRY NEW THINGS. ONE OF THE THINGS I’D LIKE TO DO…I’VE SEEN PEOPLE WHO ARE CROSS-STITCHING ON METAL [PUTTING HOLES IN]. IN THE SPRING, I WILL BE DOING A CROSS-STITCH PATTERN ON ‘PAGE WIRE’, THAT [ATTACHES] TO A FENCE, SO IT WILL BE OUTDOOR CROSS-STITCH. I LOVE WORKING WITH MY SILKS, AND MY REALLY DELICATE STUFF, BUT THE BEAUTIFUL THING ABOUT EMBROIDERY IS YOU CAN TAKE IT DIFFERENT WAYS. WHY SHOULD KNITTERS HAVE ALL THE FUN WHEN THEY GO ‘YARN-BOMBING’? WE CAN DO ‘CROSS-STITCH BOMBING’, TOO. IT’S ONE OF THOSE THINGS WHERE YOU CAN TAKE A VERY OLD FORM, AND MAKE IT VERY MODERN.” “IT WAS A HARD DECISION [TO DONATE IT]. I HAVE THE PATTERN. I CAN ALWAYS RECREATE IT. IT WOULD NEVER BE THE SAME. I DON’T CARE IF YOU RECREATE SOMETHING, IT’S NEVER THE SAME THING. BUT I HAD TO LET THE LOGICAL PART OF MY BRAIN HANDLE THIS DECISION, BECAUSE IT DID HANG IN THE CLASSROOM AND YOU POINTED TO THIS THING A LOT WHEN WE DISCUSSED THE BUILDING. FOR A LOT OF STUDENTS THIS WAS THE PICTURE OF THE BUILDING THAT THEY REMEMBER SEEING, SO THE CONNECTION TO MY JOB JUST MADE IT SUCH A STRONG [POINT]. THE OTHER THING IS, AS AN ARTIST…I GET TO SAY I’M AN ART-PIECE IN A MUSEUM. THAT’S QUITE THE HONOR. IT WASN’T CHOSEN AS AN ART-PIECE, BUT STILL I CAN MAKE THAT WORK. [I SPENT] PROBABLY A WEEK TALKING TO FAMILY MEMBERS AS WELL, BECAUSE I HAVE A LOT OF CROSS-STITCH IN MY HOUSE, FROM PATTERNS AND DIFFERENT THINGS. I REMIND THEM I’M NOT GOING TO DIE SOON, BUT SOME OF MY NIECES HAVE TOLD ME WHICH ONES THEY WANT WHEN I’M DEAD. SO I ALSO NEEDED TO TALK TO FAMILY, AND MAKE SURE THAT NOBODY WAS GOING TO BE CRINGING TO FIND IT WAS GONE. IT IS INTERESTING HOW THINGS THAT YOU CREATE [HAVE] A SENSE OF OWNERSHIP FOR OTHER PEOPLE TOO, SO I HAD TO DOUBLE CHECK WITH OTHER PEOPLE TOO.” “IT WAS JULY OR AUGUST OF 2000, WHEN I WAS INTERVIEWED BY WILMA WOODS, AND I WAS BETWEEN TEACHING [JOBS]…AND GETTING CLOSE TO THE START OF SCHOOL. I DIDN’T REALLY WANT TO SUB, AND IT WAS A TEMPORARY SIX MONTH POSITION. I APPLIED, AND WILMA INTERVIEWED ME ON THE MAIN FLOOR, IN THE HALF OF WHAT’S NOW THE FRIEND’S BOARDROOM. THAT IS WHERE HER OFFICE WAS, AND WHERE SHE DID THE INTERVIEW. I PREPPED. I WENT TO B. MACCABEE’S BOOKSTORE AND BOUGHT THE CENTENNIAL HISTORY OF LETHBRIDGE, AND READ THE ENTIRE BOOK…BEFORE THE INTERVIEW. I WASN’T REALLY THINK ABOUT WHETHER I’D GET THE JOB, SO I GAVE REFERENCES TO HER AND REALIZED I HADN’T ACTUALLY LET THE REFERENCES KNOW. I CALLED THEM AFTER I GOT HOME, WHICH WAS GOOD, BECAUSE I GUESS SHE CALLED FIVE MINUTES AFTERWARDS BECAUSE SHE WAS PRETTY QUICK. I STARTED [AT THE GALT MUSEUM] SEPTEMBER 1, 2000, WITH THE EXHIBIT ON THE IRRIGATION DISTRICT AND ITS CENTENNIAL. IT WAS A SIX MONTH GRANT POSITION. I WAS SUPPOSED TO BE A TEMPORARY POSITION, BECAUSE AT THAT POINT THE E. TEAM HAD GEARED DOWN ON STAFF AT THE MUSEUM. SO I STARTED THERE, AND…JANUARY AND FEBRUARY OF THE YEAR, THEY WENT TO CITY COUNCIL AND ASKED FOR IT TO BE MADE A FULL-TIME PERMANENT POSITION. IT HAD TO BE POSTED, BUT I APPLIED AND GOT THE FULL-TIME PERMANENT POSITION IN MARCH 2001. I MADE THE DECISION, BUT WITHOUT REALLY THINKING ABOUT IT, THAT TEMPORARY POSITION TURNED INTO A SEVENTEEN YEAR JOB.” “[OF THE WORKS I’VE DONE] IT’S DEFINITELY ONE OF THE BIG ONES. THERE [WERE] A FEW OTHER THINGS I TOOK OUT OF MY OFFICE THAT HAVE BEEN WITH ME FROM THE BEGINNING…THE REASON I STITCHED THIS BUILDING WAS MY CONNECTION TO THE BUILDING. IT’S NOT ONLY A PHENOMENAL BUILDING, BUT THIS WAS ‘HOME’ FOR 17 YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170033001-GA.
Catalogue Number
P20170033001
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
SMITH AND WESSON
Date Range From
1935
Date Range To
1950
Material Type
Artifact
Materials
STEEL, WOOD, NICKEL
Catalogue Number
P20190002001
  2 images  
Material Type
Artifact
Other Name
SMITH AND WESSON
Date Range From
1935
Date Range To
1950
Materials
STEEL, WOOD, NICKEL
No. Pieces
2
Length
29
Width
3
Description
A. HOLSTER, 28.5CM L X 12CM W. DARK BROWN LEATHER HOLSTER WITH FLAP COVERING TOP OPENING; FLAP SECURES TO THE FRONT OF HOLSTER WITH BRASS STUD AND HOLE PUNCHED THROUGH THE FLAP. HOLSTER HAS LIGHTER BROWN LEATHER CASING AT BARREL END STITCHED WITH LIGHT THREAD. BACK HAS LOOP FASTENED WITH SILVER STUDS FOR CARRYING ON A BELT. LEATHER IS CRACKED AND WORN; FRONT FLAP HAS GREEN CORROSION STAINS AROUND FASTENING HOLE; OVERALL VERY GOOD CONDITION. B. REVOLVER, SMITH AND WESSON, 29CM LONG X 3CM WIDE X 0.6 BARREL DIAMETER. REVOLVER HAS DARK WOOD HANDLE AND LONG BLACK STEEL BARREL, CYLINDER AND FRAME. BARREL HAS SIGHT PIN AT END OF BARREL. HANDLE HAS CROSS-HATCHED PATTERN ENGRAVED IN WOOD WITH SILVER TRIM ALONG INSIDE AND OUTSIDE OF HANDLE; HANDLE HAS ROUND SILVER PLATE WITH EMBOSSED “S&W” LOGO AT TOP OF HANDLE WOOD. REVOLVER HAS INSCRIPTION ON RIGHT SIDE BELOW CHAMBER “MADE IN U.S.A.”; REVOLVER TRIGGER HAS INSCRIPTION ON BOTTOM “REG. U.S. PAT. OFF.” LEFT SIDE BESIDE CHAMBER HAS “S&W”; BARREL HAS INSCRIPTION ON RIGHT SIDE “22 LONG RIFLE CTG” AND INSCRIPTION ON LEFT SIDE “SMITH & WESSON”. REVOLVER HAS STEEL CYLINDER RELEASE ON LEFT SIDE TO OPEN CHAMBER; REVOLVER HAS SIX CYLINDERS FOR CARTRIDGES. BASE OF HANDLE HAS METAL TRIM RUNNING ACROSS WITH INSCRIBED TEXT “638375” ON METAL. STEEL BARREL AND CYLINDER HAVE MINOR WEAR IN THE FINISH; HANDLE HAS MINOR WEAR AROUND BASE EDGES; OVERALL VERY GOOD CONDITION.
Subjects
ARMAMENT-FIREARM
ARMAMENT-ACCESSORY
Historical Association
SAFETY SERVICES
History
ON JANUARY 10, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED JEAN BUCHANAN REGARDING HER DONATION OF A REVOLVER AND FIREARM ACCESSORIES. THE FIREARM WAS USED BY BUCHANAN’S FATHER, EDWARD ETTERSHANK BUCHANAN, DURING HIS CAREER WITH THE ALBERTA PROVINCIAL POLICE AND ROYAL CANADIAN MOUNTED POLICE. ON THE REVOLVER, BUCHANAN RECALLED, “[MY DAD] USED [THE SMITH AND WESSON REVOLVER]…STARTING IN 1932, WITH THE RCMP, MAY BE WHEN HE GOT THAT GUN. HE HAD IT REGISTERED IN 1940, AND GETTING ANOTHER 5 YEARS REGISTRATION IT MUST HAVE BEEN 1935.” “THIS WAS HIS SIDEARM…HIS SERVICE WEAPON…HE HAD THAT ALL THE TIME…IT WOULD GO RIGHT ON HIS BELT THERE.” “[DAD KEPT THE GUN] IN [MY PARENTS’] BEDROOM. RIGHT ON THE BEDROOM CLOSET DOOR, RIGHT OPEN. I NEVER TOUCHED IT, BECAUSE HE HAD GIVEN ME MY TRAINING AND LET ME USE IT WHEN I WAS YOUNG. I HAD RESPECT FOR IT, AND I HAD NO SPECIAL CURIOSITY, WHICH IS A GOOD THING. [DAD KNEW I WAS] AN ADVENTUROUS PERSON, BUT I NEVER EVER TOUCHED IT, OUT OF COMPLETE RESPECT FOR DAD AND WHAT HE HAD THERE.” “ALL I CAN REMEMBER [IS HE HAD TWO HANDGUNS OR SIDEARMS]…HE DIDN’T GO OUT PRACTICING VERY MUCH; HE DIDN’T HAVE TO. HE COULD PASS HIS MARKSMANSHIP, AND THEN, EVERY TIME THERE WERE THINGS AT REGINA DEPOT TRAINING COURSES (UPGRADING, REFRESHER COURSES) THEY DID THEIR MARKSMANSHIP THERE, TOO. THEY WERE ALWAYS TESTED ON THEIR MARKSMANSHIP, AT REGINA DEPOT.” “I THINK [THE REVOLVER HAD] QUITE A BIT [OF MEANING TO MY DAD], BECAUSE HE HAD IT IN HIS HOUSE. IT WAS REALLY STRANGE BECAUSE I ASKED HIM WHERE IT WAS, WHEN HE SHOWED ME THE PAPERS, AND HE HAD IT IN A SHOE BOX IN HIS BEDROOM CLOSET. YOU DIDN’T HAVE TO HAVE GREAT [HIDING] PLACES FOR IT IN THOSE DAYS, BUT THAT’S WHERE HE KEPT IT. HE MADE SURE IT WAS THERE, AND HE KNEW WHERE IT WAS.” “[I HAVE NO] KNOWLEDGE ABOUT HIM HAVING TO FIRE THIS WEAPON…AT ANYONE. IF HE WOULD HAVE, HE WOULD HAVE FIRED TO MISS SOMEONE, JUST AS A WARNING SHOT. HE DEFINITELY WENT FOR WARNING SHOTS, BUT HE NEVER SHOT ANYBODY WITH IT." “[HE WOULD HAVE STOPPED CARRYING THE GUN] AT THE VERY END OF 1950, WHEN HE RETIRED FROM THE R.C.M.P.” “[I’VE HAD THE REVOLVER] SINCE 1998—THE PASSING OF MY FATHER, BECAUSE I WAS THE SOLE EXECUTRIX. IT WAS AUTOMATICALLY MY RESPONSIBILITY TO TAKE ALL OF HIS FIREARMS, IN MY POSSESSION.” “I WAS RESPONSIBLE FOR [THE CARE OF] IT, AND IT WAS A REAL KEEPSAKE. [THE GUN] WAS VERY PERSONAL, BECAUSE I’M SURE [MY DAD] OWNED THAT EVEN BACK IN 1935, [WHEN] HE WAS IN WESTLOCK, IN CHARGE OF THE DETACHMENT THERE FOR 10 YEARS. IT WAS OF SENTIMENTAL VALUE BECAUSE HE TOOK ME OUT (I’M PRETTY SURE I WAS 8 YEARS OLD, WHEN HE HAD ME IN THE BACKYARD)—WE HAD FARMLAND AND FOREST—AND HE HAD A TARGET PRACTICE OUT THERE. HE HAD ME USE THAT FIREARM. HE SHOWED ME HOW TO USE IT, HOW TO AIM, AND HOW TO HANDLE IT SAFELY. I ALWAYS RESPECTED THAT, AND THAT WAS GOOD. THAT’S THE ORIGINAL HOLSTER FOR THAT GUN, WHICH YOU CAN SEE IS LOOPED, TO PUT ON HIS BELT. HE ALSO CARRIED A .32 COLT SEMI-AUTOMATIC.” “I’VE ALWAYS APPRECIATED REVOLVERS, AND RIFLES. IT’S NEVER BEEN ANYTHING THAT I THOUGHT ANY DANGER OF. YOU LEARN THE SAFETY, AND YOU TAKE YOUR COURSE. I HAVE MY COURSE DONE, AND I PASSED IT WITH FLYING COLORS. I HAD MY PERMIT TO HAVE IT. I HAVE TAKEN IT OUT, ON MY OWN ACREAGE, AND FIRED IT A BIT, BUT IT ISN’T SOMETHING I WANT TO DO. IT’S A SENTIMENTAL THING THAT I CAN NOW FEEL I’D LIKE TO HAVE IT IN YOUR MUSEUM. I KNOW IT’S NOW IN A SAFE PLACE, SO I DON’T HAVE TO WORRY ABOUT IT EVER FALLING INTO THE WRONG HANDS. AND, IF I WANT TO COME AND VISIT IT, I CAN COME AND SEE IT.” ON JUNE 8, 2018, MACLEAN INTERVIEWED BUCHANAN REGARDING HER FATHER’S CAREER WITH THE ALBERTA PROVINCIAL POLICE AND ROYAL CANADIAN MOUNTED POLICE. BUCHANAN ELABORATED ON HER FATHER’S HISTORY, “[MY DAD WAS EDWARD BUCHANAN, WHO RETIRED AT THE RANK OF] SENIOR STAFF SERGEANT…HE RETIRED IN 1950 FROM THE [R.C.M.P].” “HE JOINED THE A.P.P. WHEN HE WAS TWENTY AND HE WAS STATIONED OUT NEAR ST. PAUL. IN ’21, HE MET MY MOTHER IN EDMONTON…BUT HE STAYED AT ST. PAUL AND THEN AFTER, HE GOT POSTED TO GRANDE PRAIRIE. HE WAS GOING TO GO TO GRANDE PRAIRIE BUT THEN IN ’22, THEY GOT MARRIED. A.P.P. HAD NO RESTRICTIONS ON THEIR MEMBERS GETTING MARRIED, LIKE THE R.C.M.P. HE DIDN’T HAVE TO WAIT TO GET MARRIED…THAT’S WHEN THEY WENT OUT TO BRAINARD.” “EVEN IN THE A.P.P., TO START WITH, HE HAD SOME SERVICE DOWN HERE AT THE LETHBRIDGE PRISON…BRINGING PRISONERS DOWN AND THEN MAYBE, AT THE VERY FIRST WINTER AS A ROOKIE, HE WAS ON JOB TO BE ON GUARD AT THE STATION. IT WASN’T LONG AND HE WAS SENT OUT TO ST. PAUL AND INTO MORE OF THE REAL POLICING.” “WHEN HE WAS IN THE A.P.P. [IN 1932] HE WAS THE TOP CLASS OF [THE] A.P.P. THAT AUTOMATICALLY WERE ACCEPTED INTO THE R.C.M.P. HE WAS PUT IN CHARGE, WHEN HE WAS IN THE A.P.P.—FIRST HE STARTED OUT IN CHARGE OF BRAINARD—HORSE LAKE—A LITTLE PLACE NEAR THE HORSE LAKE INDIAN RESERVATION. THEY CLOSED THAT DOWN AND TRANSFERRED HIM TO WEMBLEY, A LITTLE VILLAGE, AND HE WAS THE ONLY ONE IN CHARGE, THE ONLY OFFICER IN CHARGE OF WEMBLEY. THAT’S WHEN THAT 1932 [CHANGE] CAME ALONG AND HE JUST CHANGED THE SIGN UP THERE FROM A.P.P. TO R.C.M.P. AND WENT FROM THERE.” “IN ’32, IT WAS R.C.M.P. AND THAT STAYED R.C.M.P. UNTIL ’34. THEN HE WAS TRANSFERRED TO TAKE CHARGE OF THE WESTLOCK DETACHMENT WHICH WAS A BIG AREA. [THERE] WAS NO DETACHMENT IN BARRHEAD. HE HAD A HUGE AREA THERE TO COVER.” “[A.P.P. MEMBERS] WERE NOT AUTOMATICALLY TAKEN INTO THE R.C.M.P. THEY HAD THREE CATEGORIES THERE, OF THE A.P.P. MEMBERS…[THERE WERE] ONES THAT WERE NOT ACCEPTABLE, THAT 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. THEY WERE NOT ACCEPTABLE. THEN THERE [WERE THE ONES THAT] COULD BE GIVEN A LITTLE TRIAL RUN. THEY COULD APPLY. THEN THERE [WERE] ONES THAT COULD GET IN FOR A FULL YEAR AND THEN RE-APPLY. THEY’D BE ACCEPTED FOR A YEAR. THEN THERE’S THE TOP GRADE AND [THEY] WERE AUTOMATICALLY ACCEPTABLE. DAD WAS RIGHT UP THERE IN THAT TOP GRADE.” “A.P.P. MEMBERS WERE TRAINED BY THE NORTHWEST MOUNTED POLICE, NOT SOME GOOFBALLS THAT DIDN’T KNOW WHAT THEY WERE DOING. THESE WERE TRAINED BY THE BEST-TRAINED POLICE OFFICERS.” “ASSISTANT COMMISSIONER HANCOCK KNEW DAD REALLY WELL...HE 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, I THINK, 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?” “[WE CAME DOWN HERE IN] ’44…I NEVER HAD ANY PROBLEM [WITH THE MOVE]. I WAS ALWAYS ADVENTUROUS. I HAD LOTS OF FRIENDS BUT I WAS ALWAYS HAPPY TO GO.” “WE RENTED A HOUSE ON 538 – 7TH STREET. IT’S ALL TORN DOWN NOW. DAD HAD TO COME DOWN A MONTH OR SO AHEAD OF US AND THEN HE COULDN’T FIND A HOUSE READY, SO WE CAME DOWN AND STAYED IN A HOTEL FOR ABOUT TWO MONTHS. I HAD TO START GRADE TEN; I WAS ONLY FOURTEEN, HERE. 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.” “[DAD] HAD TO OVERSEE THE POW CAMPS…HE TALKED ABOUT THE POW’S IN THIS 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…THEY WERE CONSCRIPTED OVER IN GERMANY, THEY DIDN’T HAVE ANY CHOICE, AND THEY WERE VERY DECENT, GOOD GUYS. HE RESPECTED THEM FOR THAT AND HELPED THEM, [GAVE] THEM ADVICE, “YOU KNOW, YOU GOTTA GO BACK TO GERMANY AND THEN APPLY TO COME BACK.” THERE WAS A TRUST THERE TO LET SOME OF THEM OUT TO WORK…‘CAUSE THERE [WAS] A LABOUR SHORTAGE FOR THE FARMERS AND THEY NEEDED THAT HELP. SOME OF THOSE FARMERS WERE VERY PLEASED TO GET SOME OF THESE GERMANS, AND SOME OF THE FARMERS’ DAUGHTERS WERE VERY PLEASED TO GET THAT, TOO. THEN THERE’S SOME LATER MARRIAGES AFTER THAT. IT WOULD BE A SHAME TO CONDEMN ALL THOSE POW’S BECAUSE A LOT OF THEM WERE VERY DECENT, GOOD, MORAL FELLOWS THAT DIDN’T WANT TO BE INVOLVED WITH ANY KILLING.” “HE WAS A PLAIN STAFF SERGEANT, NCO, SECOND IN CHARGE OF THE SUBDIVISION.” “[THEN HE] WENT BACK TO EDMONTON [TO RETIRE IN 1950], HIS HOME CITY WHERE HIS PARENTS WERE AND A LOT OF FRIENDS. HE JOINED THE R.C.M. P. VETS BUT WITH HIS RECORD, THE ATTORNEY GENERAL’S DEPARTMENT WERE NOT GOING TO LET HIM LOOSE. THEY MADE IT A FIRST APPOINTMENT OF AN INSPECTOR OF JAILS FOR THE PRISONS OF ALBERTA WHICH, AT THAT TIME, THERE WERE ONLY TWO: LETHBRIDGE AND FORT SASKATCHEWAN. [THE] ONLY PLACE IN FORT SASKATCHEWAN WAS FOR WOMEN, SO [WOMEN] HAD TO GO ALL THE WAY TO FORT SASKATCHEWAN, EVEN IF [THEY] WAS FROM LETHBRIDGE. THAT WASN’T A VERY GOOD DEAL, SO DAD COULD SEE A REAL NEED [FOR WORK]. IT WAS A REAL MESS WHEN HE LOOKED AT THE PRISONS.” “HE REALIZED, BEING AN R.C.M.P., THAT MANY OF THE YOUNG CITY POLICE, TOWN SHERIFFS, SOME OF THESE MAGISTRATES, THEY MESSED THINGS UP. HE STARTED A TRAINING SCHOOL FOR THESE MUNICIPAL POLICE AND THAT JUST WENT TERRIFICALLY. THEY HAD [THE SCHOOLS] IN CALGARY AND IN EDMONTON TWICE A YEAR. THEY HAD A BIG GROUP FROM MEDICINE HAT COME UP AND [TAKE] THE SCHOOLING, LETHBRIDGE CAME UP, AND SOME OF THE PRISON GUARDS TOOK [THE TRAINING], TOO.” “[HE] WORKED ON THAT FOR FIFTEEN/SIXTEEN YEARS. AFTER TWELVE YEARS, HE WAS SO BUSY THAT THEY MADE HIM SUPERINTENDENT OF PRISONS BECAUSE…THE FIRST THING HE HAD TO DO WAS TO DEVELOP THE PRISONS FOR ALBERTA. TWO WAS NOT SUFFICIENT.” “[DAD’S] PERSONALITY WAS ALWAYS QUIET, FIRM, NO-NONSENSE, HUMOROUS, BUT HE WAS NEVER ARROGANT. I NEVER HEARD HIM SWEAR OR GET MAD AT ANYBODY, NOT EVEN PRISONERS. HE HANDLED THEM VERY QUIETLY, AND VERY FIRMLY. THE STAFF…ALL LOVED HIM. I [HAVE] LETTERS AND THEY CAME ALL THE WAY UP TO THEIR ANNIVERSARIES LATER IN EDMONTON…“YOU’RE THE BEST BOSS WE EVER HAD.” ALL HE HAD WAS A VISION OF WHAT NEEDED TO BE DONE…HE COULD GO AND EXPLAIN THE NEED FOR THE JAILS, WHAT IT WOULD COST AND WHAT IT NEEDED TO FIX THE PROBLEM. HE NEVER HAD PROBLEM GETTING EXACTLY WHAT HE NEEDED FROM THEM.” ON THE DONATION OF THE REVOLVER, BUCHANAN NOTED, “MY DAD KNEW I WOULD LOOK AFTER [HIS BELONGINGS] AND WANTED TO GET IT TO A MUSEUM. [DAD KNEW] THAT I WASN’T ONE TO PUT IT IN MY BASEMENT TO HAVE GOODNESS-KNOWS-WHAT-HAPPEN TO IT. HE HAD LEFT ALL OF THAT IN CHARGE OF ME. I WAS THE SOLE EXECUTOR OF THE ESTATE.” “I AM NOW AT THE YOUNG AGE OF 88; I’M NOT WORRIED ABOUT LIVING ANOTHER 10 YEARS. I DIDN’T WANT THE CHANCE OF ANYBODY STEALING IT, OR GETTING THEIR HANDS ON IT, SO I WANTED TO MAKE SURE YOU GOT IT. AND, I DON’T NEED IT, SO WHY KEEP IT? IF I GET LONESOME, AND WANT TO SEE IT, I’LL COME TO THE MUSEUM AND LOOK AT IT.” “I’LL FEEL HAPPY, TO KNOW IT’S GOT A GOOD HOME. I DON’T HAVE TO WORRY ABOUT IT.” FOR MORE INFORMATION INCLUDING THE FULL TRANSCRIPTIONS FROM INTERVIEWS AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190002001-GA.
Catalogue Number
P20190002001
Acquisition Date
2019-01
Collection
Museum
Images
Less detail
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
PAPER, METAL, PAINT
Catalogue Number
P20190006004
  2 images  
Material Type
Artifact
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Materials
PAPER, METAL, PAINT
No. Pieces
1
Length
74.8
Width
67
Description
WATERCOLOUR AND PASTEL PAINTING DEPICTING A TREE IN THE FOREGROUND IN BLACK PASTEL ON GREEN, PURPLE, PINK AND BLUE BLENDED WATERCOLOUR BACKGROUND. TREE AND GROUND OUTLINES ARE DONE IN PASTEL WITH ABSTRACT WATERCOLOUR BACKGROUNDS FOR LEAVES AND LANDSCAPE. PAINTING SIGNED IN FRONT LOWER RIGHT CORNER IN BLACK INK, "MELISSA MALKAS". PAINTING BACK IS STAINED, AND HAS INSCRIPTION IN LOWER RIGHT CORNER IN BLACK LEAD "PAINTING BY MELISSA MALKAS". PAINTING WAS DONATED IN A LAVENDER MATTE AND SILVER METAL FRAME. FRAME HAD WHITE COROPLAST BACKING WITH HANDWRITTEN TEXT IN BLUE MARKER ON LEFT SIDE "MELISSA AFTER CALGARY". MATTE CONSISTED OF A FRONT BOARD WITH THE PAINTING SECURED BY MASKING TAPE ALONG FOUR EDGES. A TREATMENT WAS CONDUCTED ON OCTOBER 24, 2019 BY CONSERVATOR JULIET GRAHAM TO REMOVE THE MASKING TAPE FROM THE BACK OF THE PAINTING, AND TO SECURE HOLLYTEX TO THE REMAINING ADHESIVE ON THE PAINTING. PAINTING HAS TWO PINHOLES AT LOWER RIGHT CORNER, AND SMALL TEARS ALONG RIGHT EDGE [REVEALED DURING TREATMENT TO REMOVE TAPE]. PAINTING HAS ADHESIVE RESIDUE ALONG FRONT EDGES FROM PREVIOUS MATTING OR FRAMING. OVERALL VERY GOOD CONDITION. FOR FURTHER CONDITION DETAILS AND THE COMPLETE TREATMENT REPORT BY CONSERVATOR JULIET GRAHAM, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MELISSA MALKAS, FLAIG RECALLED, “MY BROTHERS AND I HAD MET [MELISSA MALKAS]. WE THOUGHT HIGHLY OF HER AS AN ARTIST, [AND] AS A PERSON. I BELIEVE SHE’S NOT AROUND IN TOWN ANY MORE, BUT SHE WAS PART OF THAT RURAL SCENE, WHERE YOU HAD A GREAT AMOUNT OF FREEDOM.” “I JUST [HAD], I BELIEVE, TWO OF MELISSA’S PIECES, THE PAINTING [WAS ONE], WHICH IS VERY BIG, BEAUTIFUL, AND PRETTY. ON THE BACK IT SAYS ‘AFTER CALGARY’. I’M NOT SURE WHAT THAT MEANS.” “[WE MET THE MALKAS’S] ONCE WE MOVED OUT TO BROXBURN. I DON’T KNOW IF THEY MOVED IN BEFOREHAND. THEY WERE [OUR] NEIGHBORS. MOM WAS RAISED ON A FARM IN SASKATCHEWAN, AND [MY PARENTS] KNEW HOW TO REACH OUT TO THE NEIGHBORS, AND MAKE FRIENDS, AND TAKE FOOD OVER AND VISIT…THEY WERE ALWAYS OUT VISITING.” “I KNOW [MY PARENTS] WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, MELISSA MALKAS WAS A SECOND GENERATION LETHBRIDGE ARTIST, THE DAUGHTER OF IRMA MALKAS (RODOWITZ) AND EGON MALKAS. MELISSA MALKAS GRADUATED FROM THE UNIVERSITY OF CALGARY IN 1986 WITH A DEGREE IN FINE ARTS, AND ALSO ATTENDED THE UNIVERSITY OF LETHBRIDGE. DURING HER CAREER, MALKAS EXHIBITED AT THE BOWMAN ARTS CENTRE WITH THE ALLIED ARTS COUNCIL OF LETHBRIDGE. MELISSA MALKAS EXHIBITED AS A SOLO ARTIST, AND WITH HER MOTHER IN 1996 AND 2003 AT THE BOWMAN ARTS CENTRE. MALKAS WAS AN INSTRUCTOR AT THE BOWMAN ARTS CENTRE FOR THE LETHBRIDGE ARTISTS CLUB IN 2005 AND 2010, TEACHING COURSES IN MIXED MEDIA WATERCOLOUR AND OILS. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006004
Acquisition Date
2019-03
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

62 records – page 1 of 4.