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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
"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
"GALT SCHOOL OF NURSING"
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20140049006
  1 image  
Material Type
Artifact
Other Name
"GALT SCHOOL OF NURSING"
Date
1979
Materials
CERAMIC
No. Pieces
1
Height
8.5
Length
12
Diameter
8.9
Description
A CREAM-COLOURED CERAMIC MUG. ON ONE SIDE IS THE INSIGNIA OF THE GALT SCHOOL OF NURSING, WHICH IS COLOURED YELLOW, GREEN, AND RED. IN THE CENTER OF THE INSIGNIA IS A RED CROSS. THE TEXT READS “GALT SCHOOL OF NURSING, LETHBRIDGE ALTA”, “FESTINA LENTE”, AND “1910-1979”. AROUND THE LIP OF THE MUG RUNS A GOLD RING. THE BOTTOM OF THE MUG READS “DECORATED IN CANADA BY …EMORE CHINA & GLASS” AND “CREEMORE, ONT”. VERY GOOD CONDITION: SLIGHT WEAR TO GOLD RIM.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
ASSOCIATIONS
HEALTH SERVICES
COMMEMORATIVE
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. ACCORDING TO THE HISTORY, “THIS IS A COFFEE CUP COMMEMORATING THE CLOSING OF THE NURSING SCHOOL. THE ALUMNAE PURCHASED THEM AND SOLD THEM… [THE MUGS] WERE DESIGNED AND MADE IN 1979.” IT CONTINUES, “[THE] GALT GRADS BOUGHT THESE MUGS… [AS] A MEMENTO OF THE CLOSING OF THE SCHOOL.” THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049006
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
"A7 RANCHE 100 ANNIVERSARY"
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20140032002
  2 images  
Material Type
Artifact
Other Name
"A7 RANCHE 100 ANNIVERSARY"
Date
1986
Materials
WOOD, PAINT
No. Pieces
1
Height
19.5
Diameter
5.7
Description
BROWN GLASS BEER BOTTLE WITH A LIP FOR A TWIST-OFF CAP (NO CAP). "85" IS IN RAISED LETTERS OF GLASS AT THE BASE OF THE BOTTLE. THERE IS A SEAM VISIBLE DOWN THE CENTER HALVES OF THE BOTTLE WHERE IT HAS BEEN FUSED TOGETHER. CREAM-COLOURED RECTANGULAR LABEL WITH GOLD TRIM PASTED TO ONE SIDE OF THE BOTTLE. LABEL READS "a7" WITHIN A RED DIAGONAL STRIPE RUNNING UP THE WIDTH OF THE LABEL WITH "BEER" PRINTED BELOW. THE BOTTOM OF THE LABEL READS: "BREWED AND BOTTLED IN CARLING O'KEEFE BREWERIES CALGARY, ALBERTA" IN ALTERNATING BLACK AND RED FONT. THERE IS A STAMP THAT STATES "100 YEAR ANNIVERSARY 1886-1986" IN THE UPPER LEFT SECTION OF THE LABEL. CONDITION: SLIGHT WRINKLE VERTICALLY DOWN THE RIGHT SIDE OF THE LABEL. SLIGHT SCUFFING ON THE GLASS OF BOTTLE.
Subjects
FOOD SERVICE T&E
MERCHANDISING T&E
Historical Association
COMMEMORATIVE
INDUSTRY
History
A NOTE ABOUT THIS BOTTLE WAS WRITTEN BY THE DONOR, FRANK LIGHTBOUND, AND PROVIDED TO THE MUSEUM AT THE TIME OF DONATION STATES: “THE SPECIAL LABEL ON THIS BOTTLE IS ONE OF A FEW HUNDRED PRINTED TO HELP CELEBRATE THE 100TH ANNIVERSARY (1886-1986) OF THE A7 RANCHE (OLD SPELLING), THE SOUTHERN PORTION OF WHICH BORDERS THE OLDMAN RIVER NORTH OF LUNDBRECK IN THE MAYCROFT AREA. THE RANCH WAS ESTABLISHED BY A. E. CROSS OF BIG 4 STAMPEDE FAME AND THE FORMER CALGARY BREWING/MALTING CO. (HORSESHOE AND BUFFALO LABEL). THE RANCH IS STILL OWNED BY THE CROSS FAMILY. THE BEER WAS SERVED DURING THE CELEBRATION BAR-B-Q AND THIS BOTTLE WAS GIVEN TO ME BY VAL DENNIS, SOUTH RANCH FOREMAN AT THE TIME.” ON 22 MARCH 2017, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LIGHTBOUND ABOUT HIS DONATION OF THE 100TH ANNIVERSARY COMMEMORATIVE BOTTLE FROM A7 RANCHE BREWERY. THIS BOTTLE COMMEMORATES THE 100TH ANNIVERSARY OF THE A7 RANCHE. OF THAT, LIGHTBOUND STATES, “WELL, I MUST HAVE ACQUIRED IT SOON AFTER THAT THEN – IN 1986. IT WASN’T GIVEN TO ME DIRECTLY. I KNEW THE FOREMAN OF THE SOUTHERN BRANCH OF THE A7 RANCHE [VAL DENNIS], AND HE HAD SEVERAL OF THEM, AND HE GAVE ME ONE...THE DENNIS FAMILY HAVE A RANCH ON THE OLD MAN RIVER JUST OUTSIDE THE FOREST RESERVE, WHICH IS ACROSS THE ROAD FROM THE A7 RANCHE.” THE BOTTLE WAS GIVEN TO LIGHTBOUND EMPTY. WHEN ASKED WHY HE WAS COMPELLED TO SAVE IT, LIGHTBOUND REPLIED, “WELL, [IT REPRESENTS] AN INTERESTING PART OF THE COUNTRY. I WAS AT THE GAP RANGER STATION FOR FIVE YEARS AND THE DENNIS FAMILY HAD THE FIRST RANCH EAST OF THE FOREST RESERVE, ON THE NORTH SIDE OF THE ROAD, BETWEEN THE ROAD AND THE RIVER. I GOT TO KNOW THE FAMILY BACK AROUND 1965 AND THIS WAS [FROM] 1985. I STILL VISIT WITH THEM AND I HELPED THEM WITH THEIR RANCHING OPERATION...I SAW ALL THE FAMILY GROW UP, ALL THE KIDS GROW UP. VAL WAS ONE. WHEN I FIRST MET HIM, HE WAS A KID IN GRADE SCHOOL, AND NOW I THINK HE’S ABOUT 60 YEARS OLD, AND HE’S NEARING RETIREMENT AS AN RCMP OFFICER. SO A LOT OF YEARS HAVE PASSED. SO, OUT OF THE GOODNESS OF HIS HEART, HE THOUGHT I’D LIKE TO HAVE THAT BOTTLE AND I TOOK IT, AND I HAD IT DISPLAYED—IT WASN’T IN THE LIVING ROOM—BUT IT WAS IN THE CUPBOARD AREA IN THE DINING AREA.” ACCORDING TO THE A7 RANCHE HISTORY PROVIDED ON THEIR WEBSITE (ACCESSED ON 4 MAY 2018), THE RANCH’S FOUNDER – ALFRED ERNEST CROSS – “PICKED THE ‘A7’ BRAND TO SYMBOLIZE HIMSELF AND HIS SIX SIBLINGS. IT IS SAID TO BE THE OLDEST RANCH IN CANADA STILL IN THE HANDS OF THE ORIGINAL OWNERS, RIGHT THROUGH TO PRESENT-DAY OWNER JOHN CROSS.” THE WEBSITE CONTINUES, “A. E. CROSS IS BEST KNOWN FOR BEING ONE OF THE “BIG FOUR” CATTLEMEN WHO FOUNDED THE CALGARY STAMPEDE IN 1912. HOWEVER, HE HAD MANY OTHER BUSINESS, PUBLIC, AND CHARITABLE INTERESTS, LIKE THE CALGARY BREWING AND MALTING COMPANY, OIL AND GAS, AND THE BUDDING MOTION PICTURE INDUSTRY. CROSS ALSO SERVED AS THE MLA FOR EAST CALGARY IN THE LEGISLATIVE ASSEMBLY OF THE NORTH-WEST TERRITORIES...” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, A7 HISTORY AND DONOR’S NOTE.
Catalogue Number
P20140032002
Acquisition Date
2014-08
Collection
Museum
Images
Less detail
Other Name
"ALBERTA MEAT MARKET"
Material Type
Artifact
Materials
STEEL, WOOD, IRON
Catalogue Number
P20180025000
  2 images  
Material Type
Artifact
Other Name
"ALBERTA MEAT MARKET"
Date
1955
Materials
STEEL, WOOD, IRON
No. Pieces
3
Height
115
Length
427
Width
24
Description
A. COMMERCIAL ADVERTISING SIGN, NEON. BODY STEEL PAINTED WITH TWO-TONE BLUE ON FRONT; FRONT HAS RED WOODEN LETTERS MOUNTED TO METAL FRAME AT BACK, SPELLING “ALBERTA" WITH WHITE NEON LETTERS OVERLAID. FRONT HAS WHITE LETTERS PAINTED ON BLUE BODY WITH OVERLAID WHITE NEON LETTERS READING “MEAT MARKET”. NEON LETTERS COMPRISED OF CONNECTED CLEAR, GLASS TUBES WITH BACKS PAINTED WHITE, AND UNPAINTED FRONTS; LETTERS ARE CONNECTED AND PAINTED BLACK BETWEEN INDIVIDUAL LETTERS; NEON LETTERS CONNECT INTO SIGN . LETTERS FASTENED TO FRONT OF SIGN BODY WITH BRACKETED GLASS EXTENSIONS, AND WITH SILVER WIRES TIED TO LETTERS. SIGN BODY IS RECTANGULAR WITH CUT-OUT SPACE IN CENTER WITH “ALBERTA" WOOD LETTERS IN FRONT OF CUT-OUT SPACE. SIGN BODY SLOPES DOWN FROM UPPER RIGHT CORNER; LOWER EDGE OF BODY SLOPES UP FROM RIGHT CORNER. SIGN FRONT HAS NEON TUBING ALONG UPPER EDGE ON BLUE FRAME, WITH SHORTER NEON TUBE RUNNING ACROSS FRAMING NEON TUBING ON THE LEFT SIDE. FRONT OF SIGN HAS LOGO BETWEEN “MEAT” AND “MARKET” NEON TEXT; LOGO COMPRISED OF RED BANNER EXTENDING FROM SIDES OF WHITE SHIELD IN CENTER; SHIELD HAS BLUE BORDER WITH BLUE “N” IN CENTER; RED BANNERS HAVE WHITE BORDERS AND WHITE TEXT ACROSS LOGO “NATIONAL NEON”.RED WOODEN LETTER “L” WARPED AND SPLITTING AT FRONT. TOP OF SIGN BODY STAINED WITH WHITE PAINT AND BLACK SOILING. BACK OF SIGN HAS FIXED BRACKETS ALONG EDGES WITH HOLES PUNCHED AT TOP AND BOLTED AT BOTTOMS TO SIGN BACK. BACK HAS BLACK POWER CORD EXTENDING WITH YELLOW POWER PLUG AT END; BACK HAS PAINT PEELING, IS STAINED AND RUSTED. BACK OF RED WOODEN LETTER “R” IS CRACKED; BACKS OF RED WOODEN LETTERS STAINED WITH YELLOW AND BLUE PAINT. OVERALL VERY GOOD CONDITION. B. NEON TUBING REMNANT, LETTERS “TA”, 41 CM LONG X 54 CM WIDE. GLASS TUBING FILLED WITH WHITE, PAINTED BLACK ON BACKS AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. LETTERS “TA” FASHION IN CURSIVE FONT AND CONNECTED; TUBE LOOPS OVER AT JUNCTION IN “A” AND GOING UP THE “T”. LOWER END OF “A” HAS BLUE PAINT STAINING; PAINT CHIPPED AROUND ENDS; OVERALL VERY GOOD CONDITION. C. NEON TUBING REMNANT, LETTERS “AT”, 28 CM LONG X 50 CM WIDE. CLEAR GLASS TUBING, EMPTY, GLASS IS YELLOWED. TUBING PAINTED BLACK ON BACK, AT LOWER BASE, AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. TUBES LOOP OVER AT JUNCTION IN “A” AND AT THE TOP LINE IN “T”. PAINT CHIPPED ON BACK AND FRONT; END CAPS RUSTED; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
INDUSTRY
History
IN 2018, THE GALT MUSEUM RECEIVED A COMMERCIAL NEON SIGN FROM THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THE CRIGHTON FAMILY. IN THE 1920S, GEORGE CRIGHTON OPENED CRIGHTON MEAT MARKET ON 3RD AVENUE BETWEEN 7TH AND 8TH STREET IN DOWNTOWN LETHBRIDGE, AND OPENED THE ALBERTA MEAT MARKET AS A SECOND SHOP AT 510—6TH AVENUE SOUTH. THE ALBERTA MEAT MARKET REMAINED OPERATED BY THE CRIGHTON FAMILY UNTIL ITS CLOSURE IN 2012. THE ORIGINAL NEON SIGN FROM THE ALBERTA MEAT MARKET WAS REMOVED AND DONATED ON NOVEMBER 22, 2018. IN APRIL 2019, THE SIGN UNDERWENT RESTORATIONS TO REPAIR THE NEON LETTERING AT L.A. NEON, LETHBRIDGE, PRIOR TO ITS INSTALLATION IN THE GALT MUSEUM PERMANENT DISPLAYS ON JULY 9, 2019. ON DECEMBER 19, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELAINE BROWN, WHOSE FATHER-IN-LAW, DAVE BROWN, OWNED NATIONAL NEAN DISPLAYS LTD., AND WHOSE HUSBAND, ALLAN BROWN, WORKED FOR NATIONAL NEON. ON THE “ALBERTA MEAT MARKET” SIGN, BROWN RECALLED, “THAT WAS ONE OF THE FIRST SIGNS THAT THEY MADE…THE WOOD ON IT, IS WHY I KNEW THAT IT WAS ONE OF THE FIRST ONES.” “[ALLAN] USED TO GO AROUND EVERY EVENING, ONCE A WEEK, AND CHECK AND MAKE SURE [THE SIGNS] WERE ALL KEPT UP. IF ANY OF THE NEON WAS BROKEN, THEN THEY WOULD IMMEDIATELY GO AND REPAIR IT SO THAT EVERYTHING WAS ‘AS IS’. HE WORKED [AT NATIONAL NEON] ALL DAY.” “[ALLAN] WAS PROUD OF THEM ALL. HE KNEW EXACTLY WHERE EVERY SIGN WAS. ANY ONE THAT HE WOULD PUT UP, HE COULD GO IN AND REPAIR QUICKLY, BECAUSE HE KNEW EXACTLY WHERE EVERYTHING WAS.” “ALLAN USED TO PAINT AND HANG SIGNS, [HIS BROTHER] JIM USED TO BLOW THE NEON AND [HIS BROTHER] BUSTER WOULD ALSO HANG SIGNS.” BROWN FURTHER ELABORATED ON THE HISTORY OF NATIONAL NEON DISPLAYS, STATING, “BEFORE [WE MARRIED IN 1957] ALLAN’S DAD, DAVE, BOUGHT THE BUSINESS WITH HIS THREE SONS…[IT WAS] NATIONAL NEON DISPLAYS LTD.” “IT WAS [AN EXISTING] BUSINESS OWNED BY ANOTHER BROWN…[DAVE] WAS INTERESTED IN IT, SO HE WENT IN AND DID ALL THE LEGWORK TO SEE IF HE COULD MAKE A GO OF IT. OBVIOUSLY, HE DECIDED HE COULD BECAUSE HE [AND THE SONS] BOUGHT IT.” “[ALLAN’S FAMILY] HADN’T BEEN [MAKING SIGNS] BEFORE BUT I PRESUME THEY KNEW THAT THEY COULD MAKE IT GO AND THEY COULD MAKE SIGNS. GRANDPA BROWN SAID THAT HE THOUGHT THEY COULD MAKE IT GO AND THEY DID.” “[ALLAN] DIDN’T THINK THE PLASTIC [SIGNS], WITH JUST THE FACE, WERE AS EYE-CATCHING AS THE NEON SIGNS NOR WERE THEY AS NICE TO LOOK AT WHEN THEY WERE ON. HE REALLY TOOK AN INTEREST IN IT; HE REALLY TRIED TO KEEP IT UP QUITE WELL. THEN HE RETIRED AND WE SOLD TO A MAN FROM CALGARY. I DON’T KNOW WHAT HAPPENED AFTER THAT BUT I THINK NEON PRODUCTS OWNS IT NOW, SO THEY SHUT [THE ORIGINAL] BUILDING DOWN. ALLAN HAD SOLD THE BUILDING AFTER HE RETIRED AND THEN THEY SHUT [THE] BUILDING DOWN AFTER THAT.” “WE HOPED THAT NATIONAL NEON WOULD BE IN PEOPLE’S MINDS AS BEING HERE AND BUILDING THOSE SIGNS…NATIONAL NEON WAS HERE AS A COMPANY AND EXPANDED FROM HERE. [ALLAN] USED TO GO INTO B.C. AND SASKATCHEWAN, TO EDMONTON…TO SELL THEM. IT WASN’T JUST A LOCAL BUSINESS. IT WAS ALL OVER, B.C., SASKATCHEWAN, ALBERTA—AND I THOUGHT IT WAS REALLY INTERESTING THAT THEY’D PICK ONE OF THE FIRST SIGNS THAT [ALLAN] BUILT TO TAKE DOWN AND PRESERVE. I’M SURE [ALLAN] WOULD HAVE BEEN HAPPY WITH THAT.” ON NOVEMBER 28, 2019, MACLEAN INTERVIEWED MIRIAM SMITH AND BOB CRIGHTON REGARDING THEIR MEMORIES OF THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THEIR GRANDFATHER GEORGE CRIGHTON, FATHER JAMES CRIGHTON, AND THEMSELVES. ON THE HISTORY OF THE ALBERTA MEAT MARKET, MIRIAM SMITH RECALLED, “THE CRIGHTON FAMILY MOVED FROM SCOTLAND IN 1920…[GRANDPA CRIGHTON] OPENED THE STORE; HE RAN THE 6TH AVENUE STORE. HE RAISED HIS SONS OUT OF THERE. DAD WAS A BUTCHER IN SCOTLAND; THEY ALL BECOME BUTCHERS. BOBBY LEFT; TOMMY LEFT; DAVEY, HE WAS A BUTCHER; GEORGE WENT TO CAMPBELL RIVER.” “[DAD TOOK OVER THE SHOP ON 6TH AVENUE] ’38, OR ’39.” BOB CRIGHTON ELABORATED, “[DAD] TRIED TO ENLIST, BUT HE HAD THE STORE ON 3RD AVENUE, AND HE WENT BROKE THERE. THAT WAS CALLED CRIGHTON’S MEAT MARKET AT THAT TIME...HE HAD TO PAY ALL OF HIS BILLS OFF, SO MY GRANDPA ASKED HIM TO TAKE OVER THE 6TH AVENUE STORE. SO HE TOOK OVER THE 6TH AVENUE STORE, AND CHANGED IT TO THE ALBERTA MEAT MARKET.” “[WHEN DAD GOT THE NEW NEON SIGN] I REMEMBER HIM PUTTING IT UP. DAD RENOVATED THE STORE AND WE GOT NEW MEAT COUNTERS, AND WHEN HE GOT THE NEW SIGN UP, I WATCHED THEM PUT IT UP. NATIONAL NEON PUT IT UP…I WAS 12-14 YEARS OLD.” MIRIAM SMITH RECALLED, “I WORKED THERE WHEN I WENT TO SCHOOL. I HAD TO ANSWER THE TELEPHONE ON SATURDAYS, OR HOLIDAYS…IT WAS A BUSY STORE. I REMEMBER ALONG 6TH AVENUE AND 5TH STREET, YOU COULDN’T FIND A PLACE TO PARK BECAUSE IT WAS SO BUSY. I REMEMBER, AT LUNCHTIME, I USED TO SAY, 'I’M GOING TO GO FOR MY LUNCH NOW,' AND THERE USED TO BE SILVER’S ACROSS THE STREET. MY DAD WOULD ALWAYS SAY, ‘NO, YOU CAN’T GO. I’VE GOT TO FIX THE COUNTER AND GET MY PARSLEY OUT.' HE ALWAYS HAD HIS COUNTER VERY BEAUTIFULLY DONE.” “THE PHONE WOULD RING OFF THE HOOK, ESPECIALLY [WITH] EVERYBODY WANTING TO ORDER THEIR MEAT. IT WAS PLEASANT VISITING WITH THE DIFFERENT PEOPLE. SOME OF THEM I KNEW; SOME OF THEM I DIDN’T. BUT I FOUND MOST PEOPLE VERY NICE TO CHAT WITH. I REMEMBER MY DAD, AND DORIS HUNT (H.B.HUNT), THE DOCTOR’S WIFE. SHE USED TO COME IN, AND SHE WAS QUITE A BOISTEROUS LADY, AND SHE SPOKE HER MIND. I REMEMBER ONE TIME SHE SAID TO MY DAD, 'JIMMY, THAT ROAST BEEF YOU GAVE ME LAST WEEK WAS TOUGHER THAN HELL.' WELL, MY DAD SAID TO HER, 'YOU KNOW, DORIS, I REMEMBER YOUR HUSBAND TOOK MY APPENDIX OUT, AND THEY COME BACK AGAIN.'" MIRIAM SMITH NOTED, "I REMEMBER THE TIME THAT DAD GAVE THE TURKEY TO THE KID…THE KID HAD NO MONEY, AND HE COME FOR HAMBURGER.” BOB CRIGHTON ELABORATED, “HAMBURGER, AT CHRISTMAS TIME. IT WAS 40 BELOW OUTSIDE, AND HE [CAME] DOWN…HE SAID, ‘I WANT A POUND OF HAMBURGER, MR. CRIGHTON.' [DAD] SAYS, ‘WHAT ARE YOU HAVING FOR CHRISTMAS SUPPER?' 'HAMBURGER.' 'JUST A MINUTE.' SO, [DAD] GETS A TURKEY, AND A HAM, AND SAUSAGE. GOT A BAG FOR HIM, AND HE SAYS, 'THERE – MERRY CHRISTMAS.'" “DAD WAS A PRETTY GENEROUS MAN! WHEN ANDY KERGEN DIED, JUDY [CAME] IN. SHE WAS CRYING. SHE HAD A $200.00 BILL; SHE COULDN’T PAY IT. SHE HAD $5.00 TO PUT ON THE BILL. DAD SAYS, “GIVE ME THE BILL, JUDY.” HE LOOKED AT THE BILL; HE TOOK HIS WALLET OUT AND PAID THE BILL, AND THEN GAVE HER THE RECEIPT.” MIRIAM SMITH CONTINUED, “I ALWAYS REMEMBER WHEN WE WERE KIDS GROWING UP, WE ALWAYS HAD LOTS OF MEAT. WHATEVER WAS LEFT OVER AT THE STORE [WOULD] COME HOME…WE COULD BRING ANYBODY WE WANTED, MOTHER DIDN’T MIND. THE MEAT PLATTER WOULD BE PLACED IN THE MIDDLE OF THE TABLE, AND THE WATER PITCHER. NOBODY WANTED TO SIT BESIDE THE WATER PITCHER, BECAUSE ALL YOU DID WAS POUR WATER.” MIRIAM SMITH NOTED, “[WE, THE CHILDREN, BOUGHT DAD OUT] IN 1965.” ON DECEMBER 11, 2018, MACLEAN INTERVIEWED KEN CRIGHTON, GRANDSON OF JAMES [JIM] CRIGHTON. KEN CRIGHTON WORKED WITH THE FAMILY IN ALBERTA MEAT MARKET. ON HIS MEMORIES OF WORKING IN THE ALBERTA MEAT MARKET, KEN CRIGHTON NOTED, “I WAS THERE EVERY DAY FOR 30 SOME YEARS…MY DAD AND HIS TWO BROTHERS WERE OPERATING IT WHEN I WAS A KID. [I] GOT TOLD TO GET DOWN THERE, AND HELP CLEAN UP; DO SOME CHORES; HELP WITH DELIVERIES; THEN I WORKED INTO LEARNING HOW TO CUT MEAT.” “[MY GRANDFATHER OWNED IT] JAMES ANDERSON CRIGHTON, BUT EVERYONE CALLED HIM ‘JIM’.” “[MY] FIRST MEMORIES OF GOING THERE TO WORK WAS HAVING TO RIDE ON YOUR BIKE, OR WALK FROM SCHOOL RIGHT AFTER SCHOOL, TO HELP CLEAN UP EITHER AT 4 O’CLOCK OR 4:30. IT ALWAYS SEEMED TO ME THAT I WAS DOING THE BULK OF THE WORK, AND THEY WERE DOING MOST OF THE BEER-DRINKING.” “EVERY NIGHT YOU HAD TO EMPTY ALL THE MEAT OUT OF THE COUNTER, COVER IT OVER, TAKE IT, PUT IT IN THE BIG COOLER; TAKE ALL THE PLATTERS OUT OF THE COUNTER, WASH THEM, DRY THEM…EVERYTHING FROM SWEEPING THE FLOOR, TO RAKING THE FLOOR. WE USED TO HAVE SAWDUST ON THE FLOOR TO SOAK UP ALL THE BLOOD AND FAT THAT WOULD FALL DOWN. YOU’D RUN A RAKE THROUGH IT TO PICK UP ALL THE BIG CHUNKS OF GARBAGE, AND THEN TWICE A WEEK YOU’D SWEEP UP ALL THE SAWDUST, AND REPLACE IT WITH FRESH SAWDUST. THAT ENDED WHEN THE HEALTH DEPARTMENT CHANGED…WHEN I WAS ABOUT 12-13, SO THAT WOULD HAVE BEEN 1972.” “[THE SHOP WAS OPEN] SIX DAYS A WEEK. WE WERE ONLY CLOSED, THEN, ON SUNDAYS.” “EVERY DAY, WEEKDAYS AFTER SCHOOL, AND SATURDAYS, I WOULD HELP THE GUY THAT WOULD DO DELIVERIES. WE’D RUN OUT A COUPLE, OR THREE, LOADS OF DELIVERIES TO HOUSES. IT WAS DIFFERENT BACK THEN. WE HAD SOME CUSTOMERS WHO WOULD ORDER THEIR STUFF IN THE MORNING FOR WHAT THEY WANTED FOR LUNCH. THEN THEY PHONE IN THE AFTERNOON, AND ORDER FOR WHAT THEY WANTED FOR SUPPER, WHICH, LATER ON, BECAME THE, “NO, YOU GET ONE DELIVERY A DAY.”” KEN CRIGHTON RECALLED THE LAYOUT OF THE SHOP, STATING, “THE FRONT HALF OF THE BUILDING, WHERE THE CUSTOMERS WERE, WAS PROBABLY ONLY ABOUT THE FIRST THIRD, MAYBE HALF OF THE BUILDING. A GLASS COUNTER/COOLER [WAS] ALONG THE MIDDLE, AND BEHIND IT WAS WHERE WE HAD OUR CUTTING BLOCKS AND SAW. [THERE WAS A] LITTLE COUNTER FOR A PHONE, [A] LITTLE COUNTER TO DO BOOKS ON, [AND] A 6’ WIDE AREA FOR THE CUSTOMERS TO STAND. EVERYTHING WAS SERVED. THERE WAS NO ‘THEM PICKING IT OUT’ AT THE COUNTER. IT WAS ALL DONE AND WRAPPED IN BROWN PAPER BY US.” “ON THE LEFT SIDE, [THERE WAS] A GOOD 15’ TO 20’ WALK-IN COOLER. THEN, ALONG THE WEST WALL, WE HAD A SMALL FREEZER WITH SHELVES. [IT] HAD NINE LITTLE DOORS THAT [OPENED] UP, AND SLIDE TRAYS IN. WHEN YOU’RE DOING FREEZER BEEF ORDERS, YOU’D USE THAT TO FREEZE THEM UP. [THERE WAS] A LITTLE WALK-IN FREEZER TO HOLD THE BOXES, PROBABLY ONLY 3’ BY 6’. [THERE WAS] A COUNTER [AT] THE BACK END, WITH A STOVE, THAT WE WOULD USE TO COOK UP CORNED BEEF, [AND] A FEW OTHER COLD MEATS.” “WE HAD A DOUBLE DOOR ON THE SIDE THAT WENT TO THE ALLEY, THAT WE WOULD BRING THE STUFF IN OFF THE TRUCK. USUALLY IT WAS TUESDAYS AND THURSDAYS, WE WOULD GET THE BIG ORDERS OF HANGING BEEF IN. WE HAD TWO HUGE 2’ BY 6’ PIECES OF WOOD THAT WERE ON BIG HOOKS THAT WERE PROPPED UP IN THE ATTIC. THEN YOU WOULD HANG YOUR BIG MEAT HOOKS ON THEM. YOU COULD GET 8 HIND QUARTERS, AND 6-8 FRONT QUARTERS HANGING UP IN THERE. ONE DAY WAS THE DAY YOU WOULD BREAK THEM DOWN INTO PIECES, AND THEN PUT THEM INTO THE COOLER, OR SAVE THE QUARTERS IF YOU HAD A WHOLE QUARTER FOR A FREEZER ORDER.” “[I LEARNED THE TRADE] MOSTLY BY WATCHING…BY THE TIME I WAS 15-16, [I WAS] IN THERE DOING EVERY SINGLE THING THEY’RE DOING: RUNNING THE BAND SAW, THE GRINDER, MIXING UP BURGERS, MAKING PATTIES, THE WHOLE DEAL. [I] DIDN’T REALLY GET TO SERVE CUSTOMERS TILL [I WAS] OLDER. A LOT OF THE CUSTOMERS, EVEN THEN, DIDN’T WANT ME SERVING THEM, [THEY] WANTED THE OLD MAN, OR ONE OF THE OLDER GUYS. I’M SURE LOTS OF FAMILY BUSINESSES RUN INTO THAT, WHERE THE OLD-TIME CUSTOMERS ONLY WANT THE OLDER PEOPLE LOOKING AFTER THEM.” “[THE SHOP DID WELL] I THINK BECAUSE, PROBABLY A LOT OF REPUTATION, AND PERSONALIZED SERVICE. BUT, AFTER A WHILE, IT GOT TO BE THAT YOU WERE RUNNING INTO A LOT OF PEOPLE THAT WOULD WANT YOUR QUALITY/YOUR SERVICE BUT AT THE SAME SALE PRICE THAT THE BIG STORES WOULD HAVE. THAT WAS THE FRUSTRATION OF IT…I WOULD SAY PROBABLY 90% OF THE CLIENTELE WERE REPEATS, AND YOU HAD YOUR STEADY CORE CUSTOMERS…THEY WOULD GET WHAT THEY LIKED.” “[IN THE 1980S] THERE WAS MYSELF, DAD, [AND] HE HAD TWO OTHER YOUNGER PEOPLE WORKING, ONE NAMED LEN, WHO WAS CUTTING MEAT, AND ANOTHER [WOMAN] NAMED IDA, WHO CUT. BUSINESS STARTED TO TAPER OFF THEN. HE LAID OFF IDA, AND THEN ME, AND LEN, AND DAD WOULD PRETTY WELL OPERATE THE WHOLE SHOW. THAT WAS ABOUT 1990.” “[DAD] WAS VERY, I THINK, ASTUTE AT THE BUSINESS…[HE] HAD TO BE, BECAUSE THAT WAS THEIR LIVING. THEY HAD NOTHING ELSE TO FALL BACK ON. [HE HAD TO] MAKE IT WORK. HE WAS REALLY GOOD WITH THE CUSTOMERS. HE ENJOYED SERVING THE CUSTOMERS MORE THAN THE GRUNT WORK IN THE BACK. HE COULD DO IT, BUT HE PREFERRED BEING UP FRONT, WORKING WITH THE PEOPLE. ME AND MY UNCLE RON COULD STAY IN THE BACK ALL DAY. I COULD STAND THERE AT THAT BLOCK, AND WE COULD CUT MEAT 8 HOURS STRAIGHT. [IT] WOULDN’T BOTHER US. I COULD HANDLE SERVING THE CUSTOMERS, BUT I PREFERRED JUST WORKING.” “[BUSINESS] REALLY STARTED DECLINING…I REALLY NOTICED IT AROUND 2008, 2009. FOR THE LAST WHILE, [I] JUST HAD MYSELF AND ONE OTHER YOUNG FELLOW, GARRY, WORKING THERE. IT WAS TO THE POINT WHERE YOU COULDN’T MAKE ENOUGH SALES TO AFFORD ANOTHER PERSON, BUT IT WAS TOO BUSY FOR ONE. GARRY WAS STARTING TO HAVE A FAMILY, AND NEEDED MORE MONEY. HE LEFT TO GO WORK SOMEWHERE ELSE. SO, I HUNG ONTO IT, AND JUST DID IT ALL BY MYSELF FOR THE LAST FOUR YEARS. BEING THE ONLY GUY THERE, EVERY HOUR OF EVERY DAY, FOR TEN HOURS A DAY, STARTED TO GET TO ME. IT GOT TO THE POINT WHERE, IN 2011, EARLY 2012, I JUST THOUGHT, “THERE’S NO POINT IN WORKING LIKE THIS, AND NOT MAKING ANYTHING. I MIGHT AS WELL DO NOTHING, AND MAKE THE SAME AMOUNT.”” KEN CRIGHTON SOLD ALBERTA MEAT MARKET IN 2012. MIRIAM SMITH SPOKE TO HER THOUGHTS ON THE SIGN BEING DONATED TO THE GALT MUSEUM, NOTING, “I’M VERY HAPPY. I THINK IT’S A GOOD PLACE FOR IT, AND I THINK KENNETH, AND EVERYBODY FEELS THAT WAY.” KEN CRIGHTON CONFIRMED, “I’M ECSTATIC! I WOULD RATHER IT BE HERE. OUR WHOLE FAMILY’S LOST OUR IDENTITY/ERASED [IT] BY HAVING IT JUST THROWN AWAY. ON THE OTHER HAND, I DIDN’T WANT IT STILL ON THE BUILDING, [WITH] THE BUILDING BEING USED FOR A DIFFERENT PURPOSE, AND HAVING THE NAME ASSOCIATED. [IT] FELT LIKE THE NAME BELONGED TO THE CRIGHTON’S MORE THAN THE COMMUNITY, OR WHOEVER OWNED THE BUILDING.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, FAMILY OBITUARIES, AND ARTICLES FROM THE LETHBRIDGE HERALD, PLEASE SEE THE PERMANENT FILE P20180025000-GA.
Catalogue Number
P20180025000
Acquisition Date
2018-11
Collection
Museum
Images
Less detail
Other Name
BASKETBALL TEAM PATCH "LCI CLIPPERS"
Date Range From
1955
Date Range To
1956
Material Type
Artifact
Materials
FELT, THREAD
Catalogue Number
P20160045001
  2 images  
Material Type
Artifact
Other Name
BASKETBALL TEAM PATCH "LCI CLIPPERS"
Date Range From
1955
Date Range To
1956
Materials
FELT, THREAD
No. Pieces
1
Height
12.7
Length
12.6
Width
0.6
Description
GREEN AND YELLOW CIRCULAR TERRY CLOTH AND FELT PATCH THAT READS "LCI CLIPPERS" IN CURSIVE-STYLE FOLLOWED BY "55 56" ALL IN GREEN CHARACTERS. THE PATCH INCLUDES AN IMAGE OF A BASKETBALL NET MADE WITH YELLOW FELT AND BLACK STITCHING. THE IMAGE AND WORDS ARE SUPPORTED BY A GREEN FELT AND PALE YELLOW FELT BASE. A TERRY CLOTH-LIKE YELLOW FILLS THE CIRCLULAR CENTER OF PATCH. BACK SIDE OF STITCHING VISIBLE. GOOD TO VERY GOOD CONDITION: FOUR LOOSE THREADS (ONE ON THE BACK OF THE "C" IN "LCi", ONE ON THE TOP CURVE OF PATCH, AND ONE ON THE BOTTOM CURVE OF THE "C" IN "CLIPPERS"; GENERAL DISCOLORATION AND SURFACE DIRT OVERALL.
Subjects
PERSONAL SYMBOL
Historical Association
SPORTS
COMMEMORATIVE
History
IN EARLY 2016, LLOYD YAMAGISHI DONATED TWO LETHBRIDGE COLLEGIATE INSTITUTE (L. C. I.) CLIPPERS BADGES TO THE GALT MUSEUM. IN CORRESPONDENCE WITH THE MUSEUM, YAMAGISHI STATED, “I CAME ACROSS THE BADGES A NUMBER OF YEARS AGO WHEN WE MOVED MY NOW DECEASED MOTHER FROM HER HOME TO MARTHA’S HOUSE. I DIDN’T TOSS AWAY THE BADGES THINKING THEY BELONGED TO MY OLDER SISTER, SINCE SHE WAS THE ONLY SIBLING THAT ATTENDED LCI… THE BADGES WERE NOT HERS.” IT IS UNKNOWN WHO THE BADGES BELONGED TO. THEY READ, “LCI CLIPPERS 55 56” AND “PROV. CHAMPS 1956”. IT IS KNOWN THAT THE CLIPPERS WAS THE GIRLS’ BASKETBALL TEAM FOR LCI. THE 1956 LCI YEARBOOK TITLED “SPOTLITE” READS, “ON APRIL 10TH, THE CLIPPER QUEENS, COACHED BY MARGE CLARK, ENDED A TREMENDOUS BASKETBALL SEASON BY WINNING THE PROVINCIAL “A” GIRLS BASKETBALL CROWN. THE QUEENS RECORDED A LONG STRING OF PLAYOFF VICTORIES. THEY KNOCKED OVER THEIR FIRST VICTIMS, NOBLEFORD, TO GAIN THE LETHBRIDGE NORTHERN BASKETBALL LEAGUE TROPHY AND THE RIGHT TO ENTER THE SOUTHERN ALBERTA PLAYOFFS. THEN THE QUEENS SWAMPED VULCAN, WARNER AND TABER IN RAPID ORDER, RACKING UP SOME OF THE MOST ONE-SIDED SCORES EVER SEEN IN THE SOUTH. THE CENTRAL ALBERTA CHAMPIONSHIP TEAM, LACOMBE, WAS THE NEXT VICTIM TO FALL BEFORE THE QUEENS’ STEADY ATTACK, AS THE NORTHERNERS BOWED OUT IN TWO STRAIGHT GAMES. THE CLIPPER QUEENS THEN RETURNED HOME TO DEFEAT THE CAMROSE COMETS 83-24 AND 75-30 IN A TWO-OUT-OF-THREE SERIES. THIS FEAT CROWNED THEM PROVINCIAL CHAMPS OF 1955-56.” THE YEARBOOK LISTS THE PLAYERS OF THAT YEAR’S TEAM AS FOLLOWS: CAROLE PONECH (CAPTAIN), BEV COWARD (FORWARD, BETTY BEIMLER (FORWARD), BERNICE COWARD (GUARD), MAY LEISHMAN (GUARD), MARIANNE SNOWDON (FORWARD), CAROL LARSON (GUARD), SHIRON ERICKSON (CENTRE), JOYCE GOLIA (GUARD), AND DONALDA POZZI (FORWARD). THE BOOKS STATES THE COACH, MISS MARGE CLARK, WAS IN HER SECOND YEAR AS “THE QUEENS’ MENTOR.” THE TEAM MANAGER THAT YEAR WAS MYRNA VOSBURGH. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE DONOR CORRESPONDENCE. THE LCI 1956 YEARBOOK CITED ABOVE IS HOUSED IN THE GALT ARCHIVES (20001046000).
Catalogue Number
P20160045001
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
BASKETBALL CHAMPIONSHIP PATCH "LCI CLIPPERS"
Material Type
Artifact
Materials
FELT, THREAD, TERRY CLOTH
Catalogue Number
P20160045002
  2 images  
Material Type
Artifact
Other Name
BASKETBALL CHAMPIONSHIP PATCH "LCI CLIPPERS"
Date
1956
Materials
FELT, THREAD, TERRY CLOTH
No. Pieces
1
Height
15
Length
14.8
Width
0.6
Description
GREEN FELT AND TERRY CLOTH PATCH WITH YELLOW EMBROIDERY THAT READS "PROV. CHAMPS" ON THE TOP OF THE PATCH. GREEN FELT BASE SUPPORTING A GREEN TERRY CLOTH FABRIC. YELLOW-TRIMMED BANNER WITH GREEN INSIDE ON THE BOTTOM THAT READS "LCI CLIPPERS". YELLOW CIRCLE IN THE CENTRE WITH GREEN INSIDE. FEMALE BASKETBALL PLAYER IN CENTRE MADE FROM WHITE AND BLACK STITCHING. SHE IS THROWING A BASKETBALL TOWARDS A NET ABOVE THE CIRCLE. A DIAGONAL "1956" IS IN YELLOW CHARACTERS TO THE PLAYER'S RIGHT. BACK SHOWS BACKSIDE OF STITCHING (ROUGH). VERY GOOD CONDITION: SLIGHT SNAGGING ON FRONT; LOOSE THREADS ON BACK.
Subjects
PERSONAL SYMBOL
Historical Association
SPORTS
COMMEMORATIVE
History
IN EARLY 2016, LLOYD YAMAGISHI DONATED TWO LETHBRIDGE COLLEGIATE INSTITUTE (L. C. I.) CLIPPERS BADGES TO THE GALT MUSEUM. IN CORRESPONDENCE WITH THE MUSEUM, YAMAGISHI STATED, “I CAME ACROSS THE BADGES A NUMBER OF YEARS AGO WHEN WE MOVED MY NOW DECEASED MOTHER FROM HER HOME TO MARTHA’S HOUSE. I DIDN’T TOSS AWAY THE BADGES THINKING THEY BELONGED TO MY OLDER SISTER, SINCE SHE WAS THE ONLY SIBLING THAT ATTENDED LCI… THE BADGES WERE NOT HERS.” IT IS UNKNOWN WHO THE BADGES BELONGED TO. THEY READ, “LCI CLIPPERS 55 56” AND “PROV. CHAMPS 1956”. IT IS KNOWN THAT THE CLIPPERS WAS THE GIRLS’ BASKETBALL TEAM FOR LCI. THE 1956 LCI YEARBOOK TITLED “SPOTLITE” READS, “ON APRIL 10TH, THE CLIPPER QUEENS, COACHED BY MARGE CLARK, ENDED A TREMENDOUS BASKETBALL SEASON BY WINNING THE PROVINCIAL “A” GIRLS BASKETBALL CROWN. THE QUEENS RECORDED A LONG STRING OF PLAYOFF VICTORIES. THEY KNOCKED OVER THEIR FIRST VICTIMS, NOBLEFORD, TO GAIN THE LETHBRIDGE NORTHERN BASKETBALL LEAGUE TROPHY AND THE RIGHT TO ENTER THE SOUTHERN ALBERTA PLAYOFFS. THEN THE QUEENS SWAMPED VULCAN, WARNER AND TABER IN RAPID ORDER, RACKING UP SOME OF THE MOST ONE-SIDED SCORES EVER SEEN IN THE SOUTH. THE CENTRAL ALBERTA CHAMPIONSHIP TEAM, LACOMBE, WAS THE NEXT VICTIM TO FALL BEFORE THE QUEENS’ STEADY ATTACK, AS THE NORTHERNERS BOWED OUT IN TWO STRAIGHT GAMES. THE CLIPPER QUEENS THEN RETURNED HOME TO DEFEAT THE CAMROSE COMETS 83-24 AND 75-30 IN A TWO-OUT-OF-THREE SERIES. THIS FEAT CROWNED THEM PROVINCIAL CHAMPS OF 1955-56.” THE YEARBOOK LISTS THE PLAYERS OF THAT YEAR’S TEAM AS FOLLOWS: CAROLE PONECH (CAPTAIN), BEV COWARD (FORWARD, BETTY BEIMLER (FORWARD), BERNICE COWARD (GUARD), MAY LEISHMAN (GUARD), MARIANNE SNOWDON (FORWARD), CAROL LARSON (GUARD), SHIRON ERICKSON (CENTRE), JOYCE GOLIA (GUARD), AND DONALDA POZZI (FORWARD). THE BOOKS STATES THE COACH, MISS MARGE CLARK, WAS IN HER SECOND YEAR AS “THE QUEENS’ MENTOR.” THE TEAM MANAGER THAT YEAR WAS MYRNA VOSBURGH. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE DONOR CORRESPONDENCE. THE LCI 1956 YEARBOOK CITED ABOVE IS HOUSED IN THE GALT ARCHIVES (20001046000).
Catalogue Number
P20160045002
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"ALBERTA GAMES"
Material Type
Artifact
Materials
NYLON, POLYESTER, COTTON
Catalogue Number
P20170011000
  2 images  
Material Type
Artifact
Other Name
"ALBERTA GAMES"
Date
1981
Materials
NYLON, POLYESTER, COTTON
No. Pieces
1
Length
180
Width
87
Description
FLAG WITH RED AND BLUE COLOUR BLOCK BACKGROUND; COLOURS DIVIDED IN CENTER BY WHITE 1981 ALBERTA SUMMER GAMES TORCH LOGO; FLAG HAS WHITE TEXT ALONG LOWER EDGE “ALBERTA GAMES”. FLAG HAS WHITE MACHINE STITCHING ALONG EDGES; LEFT EDGE HAS WHITE BORDER ALONG HOIST, WITH WHITE CORD EXTENDING FROM LOWER CORNER AND WOOD GROMMET ATTACHED TO UPPER CORNER WITH WHITE CORD. FRONT LEFT CORNER HAS TORN WHITE ADHESIVE LABEL, WITH BLACK INK REMNANTS ON LABEL. BACK IS REVERSE-PRINTED. BACK HAS WHITE TAG IN UPPER RIGHT CORNER WITH BLUE TEXT IN ENGLISH AND FRENCH “CANADIANA REG’D.; MISSISSAUGA, ONT.; 100% NYLON; MADE IN CANADA”. BACK UPPER RIGHT CORNER STAMPED IN BLACK INK “ALBERTA GAMES; 3-6”. FLAG IS CREASED AND DISCOLOURED FROM LIGHT DAMAGE; FLAG HAS MINOR THREAD FRAYING ALONG EDGES; OVERALL VERY GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
SPORTS
COMMEMORATIVE
History
IN 2017, THE LETHBRIDGE PUBLIC LIBRARY DONATED A FLAG FROM THE 1981 ALBERTA SUMMER GAMES TO THE GALT MUSEUM. FROM AUGUST 6-8, 1981, LETHBRIDGE HOSTED THE ALBERTA SUMMER GAMES, A PROVINCIAL COMPETITION FOR VARIOUS SPORTS AND AGES THAT INCLUDED TENNIS, HORSESHOES, BASEBALL, SOFTBALL, TRACK AND FIELD, ARCHERY, AND MORE. THE GAMES INCLUDED COMPETITIONS IN MUSIC AND THEATRE AND WERE OPEN TO PARTICIPANTS AGES 13 AND OLDER. IT IS PRESUMED THAT THE LETHBRIDGE PUBLIC LIBRARY COLLECTED THE FLAG FOR DISPLAY DURING THE 1981 ALBERTA SUMMER GAMES. THE LETHBRIDGE PUBLIC LIBRARY HOSTED VARIOUS PROGRAMS DURING THE 1981 GAMES INCLUDING A “COLLECTOR’S DAY”, THEATRE PRODUCTIONS, AND FILM SCREENINGS WITH TIES TO THEMES OF SPORTS AND COMPETITIONS. IN ADDITION TO THE 1981 ALBERTA SUMMER GAMES, LETHBRIDGE HAS HOSTED THE 1971 CANADA WINTER GAMES AND THE 2012 ALBERTA SUMMER GAMES. FOR MORE INFORMATION INCLUDING COPIES OF LETHBRIDGE HERALD ARTICLES ON THE LIBRARY AND ITS PROGRAMS DURING THE 1981 ALBERTA SUMMER GAMES, PLEASE SEE THE PERMANENT FILE P20170011000-GA.
Catalogue Number
P20170011000
Acquisition Date
2017-03
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

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