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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
"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
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031003
  1 image  
Material Type
Artifact
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Date
1982
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
40.5
Length
74
Width
2.7
Description
“EASTER SUNDAY 1907” PAINTING, WATERCOLOUR/INK – LANDSCAPE (HOUSES/HORSE CARRIAGES), “IRENE E. MCCAUGHERTY”, 1982. A FRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING, UNDER A TWO LAYERED MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 53.8 CM LENGTH AND 19 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS A STREET, FRAMED BY SIDEWALKS, WITH A COLLECTION OF HOUSES IN THE BACKGROUND WITH A CHURCH WITHIN THEM. THE SCENE IS FULL OF FIGURES, MEN IN BLACK, WOMEN IN COLOURED DRESSES, AND FIVE HORSE CARRIAGES TRAVELLING THE ROAD. THE PAINTING IS PRIMARILY GREY AND GREEN-BLUE WASHES, WITH GREEN, YELLOW, BLUE, AND BROWN COLOURS IN THE LINE OF HOUSES IN THE MIDDLE. IN THE BOTTOM LEFT CORNER THE PAINTING IS TITLED AND SIGNED “EASTER SUNDAY 1907 IRENE E MCCAUGHERTY 1982” IN BLACK INK. THE WOODEN FRAME IS GREY AND A REDDISH-BROWN WITH A WIRE HANGER ON THE BACK. THE MAT MIRRORS THE COLOUR SCHEME OF THE FRAME, PALE GREY ON THE TOP LEVEL, PALE REDDISH-BROWN ON THE BOTTOM. THE TWO PIECES OF THE FRAME THAT MEET AT THE TOP RIGHT HAND CORNER ARE SPLIT FROM EACH OTHER.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” ONE WORK INCLUDED IN THE COLLECTION IS TITLED, “EASTER SUNDAY 1907.” OF THE PAINTING, MCCAUGHERTY DESCRIBED, “THIS IS AN EASTER SUNDAY [SCENE AND I IMAGINE IS TYPICAL OF] WHAT IT WAS ON THAT SUNDAY. PEOPLE DIDN’T HAVE CARS, SO IT WAS BUGGIES…” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031003
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010013
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
18.7
Length
23.9
Description
WATERCOLOUR ON PAPER PAINTING THAT DEPICTS SCENE OF FIELD WITH FENCES STRETCHING HORIZONTALLY ACROSS THE IMAGE. GUARD TOWER AND WATER TOWER ON THE LEFT SIDE OF THE IMAGE. HOUSES AMOUNG BUSHES. MOUNTAINS IN DISTANT BACKGROUND. THE WORK IS TITLED "LETHBRIDGE, KANADA," IN THE BOTTOM LEFT CORNER. THE BACK IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER. SLIGHT FOXING OVERALL. WRINKLE ON BACK RIGHT EDGE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA" DEPICTS THAT CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010013
Acquisition Date
2016-01
Collection
Museum
Images
Less detail

61 records – page 1 of 4.