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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 INTERVIWEED 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.” “I LEARNED LATER, THAT [MY MOTHER’S LOVE OF ART] WAS BORN OUT OF HER DESIRE TO BRING ART TO HER SISTER, FERN, WHO HAD A BRAIN ANEURYSM WHEN SHE WAS ABOUT FIFTEEN YEARS OLD. [FERN] SPENT MANY YEARS IN HOSPITAL IN LABRECQUE, IN SASKATCHEWAN, BUT [MOM] NEVER GOT THERE; NEVER GOT THE PAINTINGS OUT THERE. THE ART WORK IS, IN SOME WAYS, CRUDE. THERE ARE NO SHADOWS; THE PEOPLE ARE KIND OF LUMPY; THE COLORS ARE BRIGHT, AND ALL THESE SCENES REPRESENT SOMETHING OF HER LIFE AS A YOUNG GIRL ON A FARM, IN SASKATCHEWAN, AND HOW HARD IT MUST HAVE BEEN. THERE IS A LOT OF FEELING IN EACH ONE OF HER PAINTINGS. MANY OF THEM WE’LL NEVER KNOW THE STORIES, BUT THEY’RE ALL COUCHED IN STORIES. I HAD NO IDEA EITHER, UNTIL JUST NOW, HOW PROLIFIC SHE WAS; HOW MANY PAINTINGS SHE MUST HAVE DONE. I THINK IT WAS A CATHARSIS FOR HER, BUT ALSO REPRESENTATIVE OF THEIR LIVES, GROWING UP ON A FARM IN SASKATCHEWAN—THE ISOLATION, THE COLD, THE STRIFE AMONGST THE FAMILY, THE DIFFICULTY OF HER PARENTS HOLDING A MARRIAGE TOGETHER, AND THEIR DESPERATION, WITH SEVEN KIDS, TO GET OFF THE FARM AND GET OUT OF THERE, AND MAKE SOMETHING. IT’S A HERITAGE – HER PAINTINGS, AS ARE THESE HERE. YOU JUST LOOK AT THEM AND WONDER HOW IT IS THAT AN ARTIST CAN VISUALIZE THIS, AND PUT SO MUCH FEELING INTO EACH PIECE. THE LIGHT, THE FACIAL EXPRESSION, THE SUGGESTION OF A LINE, SOMETHING SIMPLE…SOMEBODY JUST [DAUBED] THE PAINT ON THERE, GLOBS THE YELLOW OF THE TREES. THERE’S SOMETHING THERE THAT—IT’S A HERITAGE. I [HEARD IN A MOVIE] ART IS THE TRUTH THAT WE HAVE EXISTED. THESE PEOPLE EXISTED. MOM, THE LIFE THEY HAD, WILL BE FORGOTTEN, BUT IT WAS THERE. NOW, AS OUR SUCCEEDING GENERATIONS, WE HAVE THE LIFE WE HAVE BECAUSE OF WHAT THEY WENT THROUGH. THE RICHNESS OF THEIR LIFE, WE CAN NEVER REPAY IT, BUT WE CAN HOPE TO PROFIT FROM IT.” 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’S. 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.” “MOM AND DAD RAISED US AS SORT OF ‘FREE RANGE’ KIDS, AND THAT CARRIED ON OUT ON THAT FIVE ACRE LITTLE FARM-ETTE. WE COULD PRETTY MUCH DO ANYTHING, AND EXPERIMENT. WE ALWAYS HAD WOODWORKING TOOLS, AND TOOLS OF ALL KINDS IN THE BASEMENT ON HENDERSON LAKE BOULEVARD, AND LOTS TO MESS AROUND WITH. IF IT WASN’T ASTRONOMY, IT WAS POETRY, IT WAS WRITING, IT WAS ART, IT WAS BUILDING SOMETHING, OR FIXING SOMETHING UP THERE. IT WAS A STYLE OF LIFE THAT, IN REFLECTION, IT WAS QUITE A GIFT, QUITE A LEGACY TO US CHILDREN.” “THEY [BUILT] THE HOUSE ON HENDERSON LAKE BOULEVARD, I THINK IT WAS THE SECOND OR THIRD HOUSE ON HENDERSON LAKE BOULEVARD. ACROSS THE STREET WAS BALD PRAIRIE AT THE TIME, SO WE COULD JUST RUN AROUND.” 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, MORE OR LESS, AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THEY WERE HAVING TROUBLE WITH AGE-RELATED DISEASE, AND BECOMING FORGETFUL, AND THEY HAD TO MOVE INTO TOWN. 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.” “IF I HAD A BIGGER HOUSE, IF I HAD MORE ROOM, IF I WAS A VISUAL ARTIST, THEN THERE’D BE NO QUESTION THEY’D BE UP SOMEWHERE, NO MATTER WHO SAID WHAT. I HAVE A FAIR NUMBER ALREADY ON THE WALLS AT HOME, AND AS THESE ARE THINGS THAT ARE FAMILIAR TO ME, ARRAIGNED WITH MY YOUTH, AND WITH MY PARENTS BEING ARTISTS. HOWEVER, THEY WILL NOT SURVIVE IF DON’T BRING THEM HERE. WE JUST WON’T KEEP THEM, AND NOBODY IN MY FAMILY IS INTERESTED IN THEM. SO, NOT DOING ART, I GUESS IT’S GOOD THAT THEY’RE HERE. WHAT AM I GOING TO DO, JUST STACK THEM UP AGAINST THE WALL? THEY EVENTUALLY WILL PERISH.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, MELISSA MALKAS WAS A SECOND GENERATION LETHBRIDGE ARTIST, THE DAUGHTER OF IRMA MALKAS (RODOWITZ) AND EGON MALKAS. MELISSA MALKAS GRADUATED FROM THE UNIVERSITY OF CALGARY IN 1986 WITH A DEGREE IN FINE ARTS, AND ALSO ATTENDED THE UNIVERSITY OF LETHBRIDGE. DURING HER CAREER, MALKAS EXHIBITED AT THE BOWMAN ARTS CENTRE WITH THE ALLIED ARTS COUNCIL OF LETHBRIDGE. MELISSA MALKAS EXHIBITED AS A SOLO ARTIST, AND WITH HER MOTHER IN 1996 AND 2003 AT THE BOWMAN ARTS CENTRE. MALKAS WAS AN INSTRUCTOR AT THE BOWMAN ARTS CENTRE FOR THE LETHBRIDGE ARTISTS CLUB IN 2005 AND 2010, TEACHING COURSES IN MIXED MEDIA WATERCOLOUR AND OILS. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006004
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
DRESS, WEDDING
Material Type
Artifact
Materials
COTTON, POLYESTER, METAL
Catalogue Number
P20180008002
  2 images  
Material Type
Artifact
Other Name
DRESS, WEDDING
Date
1965
Materials
COTTON, POLYESTER, METAL
No. Pieces
2
Length
134
Width
43
Description
A. WHITE WEDDING DRESS, 134 CM LONG X 43 CM WIDE. DRESS HAS CREAM LACE OVERLAID DOWN FRONT AND AROUND SHOULDERS; FRONT HAS WHITE BOW AT WAIST. SLEEVES ARE POINTED AT CUFFS WITH THREE WHITE CLOTH-COVERED BUTTONS ALONG CUFFS. BACK OF DRESS HAS WHITE METAL ZIPPER RUNNING FROM NECK TO WAIST, AND SILVER FASTENING HOOKS AND LOOPS AT COLLAR AND WAIST. BACK HAS FOUR WHITE SNAP-BUTTONS UNDER LACE AT SHOULDERS FOR FASTENING TRAIN; COLLAR HAS SILVER SNAP BUTTON FOR CLOSING LACE OVERLAY. BACK HEM HAS SLIT UP CENTER. DRESS HAS STAINING AND RIP ON FRONT LEFT SLEEVE; RIGHT SLEEVE HAS STAINING ON BACK; OVERALL EXCELLENT CONDITION. B. TRAIN FOR WEDDING DRESS, 210.4 CM WIDE X 174 CM LONG, DETACHABLE. TRAIN HAS FIVE METAL SNAP BUTTONS AT NECK PAINTED WHITE AT BASES; TRAIN HAS A TRIANGULAR SLIT CUT OUT OF BACK AT LOWER EDGE; CUT-OUT IS OVERLAID WITH CREAM LACE, WITH IVORY BOW AT THE PEAK OF THE CUT-OUT. MACHINE-STITCHED AT EDGES; CREASED; STAINED ALONG INSIDE LOWER EDGE; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-OUTERWEAR
CEREMONIAL ARTIFACT
Historical Association
PERSONAL CARE
History
ON APRIL 24, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BARB CLARKE REGARDING HER DONATION OF A WEDDING GOWN AND GOING-AWAY ENSEMBLE. THE WEDDING GOWN AND GOING-AWAY ENSEMBLE WERE WORN BY CLARKE FOR HER WEDDING IN 1965. ON HER WEDDING AND HER SELECTION OF THE WEDDING GOWN, CLARKE RECALLED, “I WENT SHOPPING FOR A WEDDING DRESS, AND THIS WAS THE FIRST DRESS I TRIED ON. IT COST ME $75.00. I JUST BOUGHT IT, AND SAID, 'OK, IT FITS. I GUESS WE’LL PUT IT AWAY, AND HANG IT UP IN THE CLOSET, AND IT’LL BE READY WHEN WE GET [IT].' AFTER SUMMER SCHOOL–-I GUESS I HAD WORKED HARD–-BUT I HAD LOST SOME WEIGHT. WHEN I STOOD IN THE DRESS THE HEM HUNG ON THE FLOOR, SO FOR THE PICTURES I HAD TO STAND UP ON MY TIPTOES, SO THAT THE DRESS WAS NOT CRUMPLING IN FRONT OF ME.” “[I BOUGHT IT FROM] ONE OF THE DRESS SHOPS ON FOURTH AVE. THERE’S A NUMBER OF DRESS SHOPS ALONG THAT STREET. IT WAS NOT A BIG SHOP; IT WAS NOT A BIG ‘WEDDING DRESS’ SHOP LIKE THEY HAVE NOW. IT WAS JUST A SHOP THAT SEEMED LIKE THEY HAD SOME WEDDING DRESSES IN ONE SECTION.” “[IT] WAS NOT A BIG POUFY DRESS. I JUST WANTED SOMETHING VERY SIMPLE, BUT SOMETHING VERY STRAIGHT AND EASY TO WEAR. I ALWAYS LIKED THE ‘HEAVY LACE’ KINDS OF THINGS. WHEN I FOUND THIS, AND IT WAS 75 DOLLARS, [IT] SEEMED LIKE A LOT OF MONEY, BUT I WAS TEACHING. I HAD ALSO BORROWED SOME MONEY FROM MY DAD TO BUY A CAR, AND I WASN’T MAKING MUCH MONEY. WHEN I WAS STARTING TEACHING, MY COUSIN WHO WAS WORKING IN A BANK MADE MORE MONEY THAN I DID, BUT I HAD TO PAY OFF THE LOAN TO MY DAD FOR THE CAR. BUT I WAS ABLE TO SQUEEZE OUT ENOUGH MONEY TO BUY THIS DRESS.” “THIS WAS SOMEWHAT OF A DEPARTURE BECAUSE IT WAS JUST A STRAIGHT SHEATHE DRESS. MANY OF THEM WERE—I DON’T WANT TO SAY MORE STRAPLESS, BUT THEY HAD MORE ‘BEADING’, MORE ‘NETTING’, MORE POUFY WITH CRINOLINES, AND WIDER DRESSES. I JUST WAS TRYING TO GO AS SIMPLE AS I COULD. THIS ONE HAD THIS NICE LITTLE TRAIN ON IT, SO THAT MADE IT A LITTLE BIT MORE DRESSY AND ELEGANT. IT WAS NOT OVER-THE-TOP WITH POUFINESS. I WAS BRIDESMAID A FEW TIMES-–SO I THOUGHT I WAS NEVER GOING TO BE A BRIDE. MOST OF THE OTHER GIRLS HAD WIDER DRESSES. THIS ONE HAS THE LONG SLEEVES WITH THE LITTLE POINTY THING ON YOUR WRIST AND HAND, AND NOT MANY OF THEM WERE LIKE THAT. MOST OF THEM WERE SHORTER SLEEVES. I’M NOT SURE THAT THIS ONE WOULD BE TOTALLY REPRESENTATIONAL [OF THE FASHION OF THE TIME], BUT IT ALWAYS ACQUIRED MANY COMPLIMENTS AS BEING A VERY NICE DRESS.” ON HER WEDDING, CLARKE ELABORATED, “[I MARRIED] DAVE CLARKE. HE GREW UP AT CASTOR, ALBERTA, WHICH IS 200 MILES NORTH OF TABER, ON HIGHWAY 36. WE MET WHEN WE WERE BOTH TEACHERS. WE MET AT CARSTAIRS. HE WAS TEACHING, AND I STARTED AN INTERNSHIP PROGRAM THERE. WE MET IN THE SPRING, AND THEN I GOT A JOB THERE THAT FALL. WE DATED THROUGHOUT THAT YEAR, AND GOT MARRIED THE FOLLOWING YEAR.” “I GREW UP EAST OF MILK RIVER, IN THE COMMUNITY OF MASINASIN BY WRITING-ON-STONE PARK. I HAD COMPLETED MY HIGH SCHOOL IN MILK RIVER, AND THEN I WENT OFF TO CALGARY TO UNIVERSITY. TWO YEARS OF UNIVERSITY…WAS ALL THAT WAS REQUIRED AT THAT TIME. THERE WAS A TEACHER SHORTAGE, SO YOU COULD GET A JOB AFTER TWO YEARS, WITHOUT YOUR DEGREE, AND THAT’S WHAT I DID. THEN I MET DAVE. WE DECIDED TO GET MARRIED. DAVE WAS HELPING OUT HIS PARENTS AT THEIR FARM IN CASTOR BECAUSE THEY WERE MOVING A HOUSE DURING THAT SUMMER, AND HE WAS HELPING GET THAT HOUSE MOVED FOR HIS PARENTS. I WAS PICKING UP SOME COURSES AT EDMONTON UNIVERSITY. IT JUST HAPPENED THAT I HAD NOT FELT THAT IT WAS IMPORTANT TO HAVE A WEDDING. I JUST THOUGHT WE WOULD JUST GET MARRIED, AND HAVE FAMILY MEMBERS THERE, AND THAT WOULD BE IT. OF COURSE, MY MOM AND DAD SAID, 'NO, WE’RE GOING TO HAVE A WEDDING.' SO, I SAID, 'WELL, I’M GOING.' AFTER MY YEAR OF SCHOOL TEACHING IN CARSTAIRS THAT FINISHED THE END OF JUNE, I WAS DUE IN EDMONTON FOR MY SUMMER SCHOOL CLASSES. SO, I SAID TO MOM AND DAD, 'I GUESS IF YOU WANT A WEDDING, WE’LL TALK BY PHONE, BUT YOU’LL HAVE TO MAKE ALL THE ARRANGEMENTS, AND THE PLANS FOR IT.' SO, THEY DID. WE HAD THE WEDDING.” “[THE WEDDING] WAS ALL THE SAME DAY. THE WEDDING WAS AT ONE O’CLOCK IN THE AFTERNOON [AT SOUTHMINSTER CHURCH]. THEN THE RECEPTION WAS A BIT EARLIER [AT EL RANCHO, WHICH IS NOW THE COAST HOTEL]. THEN WE DROVE DOWN TO THE FARM, AND WE HAD A BIT OF AN ‘OPEN HOUSE’ THERE. THE DANCE WAS AT NINE O’CLOCK [AT THE MASINASIN SCHOOL]. I WAS IN THE [WEDDING] DRESS UNTIL TOWARDS THE END OF THE WEDDING DANCE BECAUSE AT THE WEDDING DANCE YOU HAD TO HAVE YOUR FIRST DANCE WITH YOUR DAD. THEN I WENT BACK TO THE FARM, WHICH WAS ONLY THREE MILES AWAY, AND CHANGED INTO THE GOING AWAY OUTFIT. WE CAME BACK TO THE DANCE, AND SAID GOODBYE TO EVERYBODY THERE, AND THEN WE LEFT FROM THERE.” “IT WOULDN’T HAVE BEEN A COMMUNITY EVENT. I WAS THE YOUNGEST IN MY FAMILY, AND THE ONLY GIRL. MOM AND DAD HAD BEEN VERY ACTIVE IN THE COMMUNITY, AND CERTAINLY HOSTING A WEDDING FOR YOUR DAUGHTER WAS VERY IMPORTANT TO THEM. I GREW UP THINKING, 'HUH, IT DOESN’T MATTER TO ME IF I HAVE A WEDDING OR NOT.' BUT IT CERTAINLY WAS TO THEM, AND TO THE EXTENDED FAMILY IT WAS IMPORTANT. I WAS AMAZED – EVEN WHEN I LOOK THROUGH MY WEDDING BOOK NOW – ALL OF THE AUNTS AND UNCLES THAT CAME. SOME CAME FROM THE UNITED STATES, AND DAVE’S UNCLE, WHO WAS MASTER OF CEREMONIES AT THE RECEPTION, WAS THERE FROM EDMONTON. I WAS AMAZED THAT PEOPLE WOULD COME. I DIDN’T THINK THAT I WAS THAT IMPORTANT THAT ANYBODY WOULD COME, BUT IT TURNED OUT TO BE A VERY, VERY NICE OCCASION, EVERYBODY HAD A VERY GOOD TIME. IT WAS CERTAINLY THE INTRODUCTION OF THE TWO FAMILIES TOGETHER. I RECOGNIZED AFTER-–SOME YEARS LATER-–THAT WEDDINGS ARE HAPPY OCCASIONS, AND THAT IF EXTENDED FAMILIES DON’T GET TOGETHER FOR HAPPY OCCASIONS, THEY OFTEN GET TOGETHER JUST FOR FUNERALS AND MORE SAD OCCASIONS. I CERTAINLY UNDERSTAND NOW HOW IMPORTANT IT WAS TO MY PARENTS, AND THAT IT WAS A GOOD OCCASION FOR THE WHOLE EXTENDED FAMILY.” “THE WAY THE SUMMER PROGRESSED, DAVE WAS VERY BUSY WITH HIS PARENTS…AND I WAS BUSY AT SUMMER SCHOOL. IF YOU KNOW ANYTHING ABOUT SUMMER SCHOOL, YOU KNOW THAT YOU ARE CRAMMING, AND TAKING CLASSES, AND YOU’RE DOING EXAMS. EVERYTHING IS FAST BECAUSE YOU ARE TRYING TO GET IT ALL DONE IN 6 WEEKS, AND YOU’RE TRYING TO MAKE SURE THAT YOU ARE GETTING A FULL CREDIT FOR YOUR COURSE. MY FINAL EXAM WAS ON A TUESDAY, AND I PACKED UP MY THINGS, AND WENT TO CASTOR ON THE WEDNESDAY. [I] PICKED UP DAVE, AND WE CAME TO LETHBRIDGE ON THE THURSDAY. WE MET WITH THE MINISTER ON THE THURSDAY, AND HE SAID THAT HE WAS BEGINNING TO WONDER IF THERE WAS A BRIDE AND GROOM BECAUSE HE HADN’T MET US…WE HAD THE REHEARSAL ON FRIDAY; THE WEDDING ON SATURDAY. FOR OUR HONEYMOON, WE WENT DOWN TO SANDPOINT AND COEUR D’ ALENE ON A LITTLE TRIP DOWN THERE. ONE WEEK LATER WE WERE IN A SMALL TOWN, NEIGHBOURING TO CASTOR, WHERE WE HAD TEACHING JOBS BECAUSE THE SCHOOL YEAR WAS TO START. WE HAD NO TIME TO SET UP A LITTLE TEACHERAGE. THE SCHOOL BOARD THERE RENTED US A HOUSE…THAT WAS HOW WE STARTED. IT WASN’T A VERY GRAND BEGINNING.” “[LETHBRIDGE WAS THE MID-POINT] TO ACCOMMODATE THE FAMILIES. MOM HAD MADE THE ARRANGEMENTS, SO I THINK IT MIGHT HAVE BEEN SOMETHING TO DO WITH WHETHER OR NOT THEY COULD HAVE THE RECEPTION CLOSE [TO SOUTHMINSTER CHURCH]. BECAUSE I WENT TO SUNDAY SCHOOL AND BELONGED TO THE CHURCH IN MILK RIVER – SO DID MY PARENTS –WE WERE AFFILIATED WITH THE UNITED CHURCH. SOUTHMINSTER WAS DEFINITELY NOT OUR HOME CHURCH AT THAT TIME.” CLARKE SPOKE TO HER MOTIVES FOR KEEPING AND DONATING THE WEDDING GOWN AND GOING-AWAY ENSEMBLE, STATING, “IT’S ALWAYS [BEEN] EASY TO KEEP IT. I DON’T THINK I’M A HOARDER, BUT I DO LOVE SENTIMENTAL THINGS, AND I HAVE MY MOTHER’S WEDDING DRESS AND GOING-AWAY OUTFIT. THEY ARE VALUABLE PIECES. THIS DRESS AND THIS OUTFIT, I HAD IT OUT AT OUR 25TH WEDDING ANNIVERSARY. I COULDN’T WEAR IT MYSELF BECAUSE MY ARMS CHANGED, BUT MY NIECE WORE IT, AND WE HAD A BIG PARTY-–FAMILY PARTY–-FOR OUR 25TH. THEN A FEW YEARS AGO SOUTHMINSTER CHURCH HAD A 100TH ANNIVERSARY, SO WE WERE ALL INVITED TO TAKE WHATEVER WE WANTED FROM OUR OWN HISTORY, AND SO [MY WEDDING] DRESS WAS WORN AT THAT OCCASION AS WELL.” “I’VE HUNG ONTO THESE MATERIALS FOR 52 YEARS, AND NOW I’M DOWNSIZING MY HOME SO THAT I CAN LIVE IN A CONDO. MY HUSBAND DIED LAST YEAR, AND, AS I’M DOWNSIZING, I LOOK THROUGH ALL OF THE THINGS THAT WE HAVE ACQUIRED AND PACKED AROUND WITH US FOR ALL OF OUR MARRIED YEARS. I DECIDED THAT THIS DRESS AND THIS OUTFIT WERE NOT GOING ANYWHERE AS LONG AS IT WAS IN MY STUFF, AND THAT PERHAPS THERE WAS SOME VALUE IN IT HAVING IT AS PROPERTY OF THE MUSEUM.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180008001-GA.
Catalogue Number
P20180008002
Acquisition Date
2018-04
Collection
Museum
Images
Less detail
Date Range From
1915
Date Range To
1920
Material Type
Artifact
Materials
STEEL, IRON
Catalogue Number
P20170034001
  2 images  
Material Type
Artifact
Date Range From
1915
Date Range To
1920
Materials
STEEL, IRON
No. Pieces
1
Length
5
Width
4
Description
SILVER HOMEMADE CROSS SOLDERED TOGETHER AT CENTER; CROSS HAS WIDENED, SQUARE NAIL ENDS WITH HEAD AND ARM POINTS ENGRAVED WITH “W” SHAPE. FRONT OF CROSS HAS ADDITIONAL NAIL BENT OUT IN SHAPE OF BODY ON CROSS; SOLDERED UNDER NAIL HEAD AT CROSS CENTER AND AT END OF NAIL AT BASE OF CROSS. BACK OF CROSS HAS LOOP BENT AND SOLDERED AT ENDS TO TOP AND CENTER OF CROSS. CROSS IS RUSTED AND TARNISHED; OVERALL VERY GOOD CONDITION.
Subjects
CEREMONIAL ARTIFACT
Historical Association
MILITARY
PERSONAL CARE
History
ON NOVEMBER 20, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RITA BERLANDO REGARDING HER DONATION OF A GIFTED RING AND CRUCIFIX. BERLANDO WAS GIFTED THE OBJECTS FROM A PREVIOUS EMPLOYER, GLADSTONE VIRUTE, OF LETHBRIDGE. THE CRUCIFIX WAS HANDMADE, FASHIONED FROM MASS-PRODUCED HORSESHOE NAILS. ON THE CRUCIFIX, BERLANDO RECALLED, “I HAVE NO IDEA…HOW [IT] BECAME IN HIS POSSESSION…WHEN HE GAVE [IT] TO ME, I WAS INTRIGUED TO KNOW MORE ABOUT IT BUT HE DIDN’T HAVE TOO MUCH HISTORY ON THEM. NOT TO ME, ANYWAY.” ON GLADSTONE VIRTUE’S MILITARY SERVICE, BERLANDO NOTED, ““I DON’T THINK HE WANTED TO TALK ABOUT IT. I THINK HE HAD A PAST THAT HE WOULD RATHER NOT DISCUSS. IT WAS ALWAYS STRICTLY BUSINESS. IT WAS NEVER SITTING THERE AND DISCUSSING WHAT HIS LIFE WAS OR ANYTHING OF THAT NATURE.” “I DIDN’T KNOW TOO MUCH ABOUT HIM BUT I KNOW THAT HE WAS A MAN THAT PEOPLE RESPECTED, AND FOR HIM TO RESPECT ME, I THINK THAT WAS AN HONOUR.” “I WOULD LOVE TO KNOW HOW THESE TWO LITTLE ITEMS BECAME IN HIS POSSESSION AND WHERE WAS HE WHEN THEY WERE GIVEN TO HIM AND WAS HE PRESENT AT SOME TIME…I JUST FIND THAT HE MUST HAVE HAD THEM IN HIS POSSESSION FOR SOME TIME.” BERLANDO ELABORATED ON HOW THE CRUCIFIX CAME INTO HER POSSESSION, “[THIS ITEM] MEANS AN AWFUL LOT TO ME BECAUSE IT WAS GIVEN AT THE TIME THAT I WAS EMPLOYED WITH THE LAW FIRM OF VIRTUE AND COMPANY. IT WAS MR. GLADSTONE VIRTUE, SEMI-RETIRED WHEN I WAS EMPLOYED THERE, THAT HAD ASKED THAT I GO INTO HIS ROOM AND TAKE LETTERS [AND] NOTES FOR LETTERS THAT HE WISHED TO HAVE TYPED. I WAS HIRED AS A RECEPTIONIST, NOT FEELING THAT I WOULD HAVE THE RESPONSIBILITY AS A SECRETARY, SO I INFORMED HIM THAT I COULD NOT DO THIS DUTY. HE ASKED THAT I GET HIS SECRETARY TO TAKE HIS NOTES. AS THE MONTHS WENT BY, HE BECAME VERY – AND I USE THE WORD ‘ATTACHED’ – BECAUSE HE WOULD ALSO ASK ME TO DO SERVICES FOR HIM, WHICH I WOULD HAVE TO GO TO THE ROYAL BANK TO DO HIS BANKING [AND] HIS INVESTMENTS. WHEN HE WAS NO LONGER TO BE WITH THE FIRM, HE HANDED ME A LITTLE GIFT. THAT GIFT CONSIST[ED] OF A RING AND A CROSS THAT WAS MADE FROM A BELL OF A CHURCH THAT WAS BOMBED IN THE FIRST WAR. THAT MEANT AN AWFUL LOT TO ME SO I HAVE TREASURED IT CONTINUALLY AND [THE GIFTING] HAS TO DATE BACK TO [1965].” “[MR GLADSTONE VIRTURE] MUST HAVE KEPT IT AS A REMEMBRANCE FROM SOMEWHERE IN THE PAST THAT HE HAD THAT HE DID NOT [WANT TO] LEAVE IT TO HIS FAMILY, BUT [WITH] ME. THEREFORE, I DEFINITELY FELT THAT [IT] WAS A GIFT THAT I SHOULD TREASURE AND I HAVE TREASURED, AND I HAVE KEPT IT UNDER LOCK AND KEY. EVEN IN THE TRANSITION OF DOWNSIZING, I LIVED IN FEAR THAT FOR SOME REASON, THERE WERE ITEMS THAT I NO LONGER HAVE. I KEPT THINKING, ‘OH, DEAR LORD, I BETTER MAKE SURE I STILL HAVE THAT GIFT FROM MR. VIRTUE.’ WHEN I FOUND IT, THAT’S WHEN I REALLY SERIOUSLY THOUGHT I HAD TO DO SOMETHING ABOUT THEM.” “AT [THE TIME I WAS HIRED], FINANCES WERE DIFFICULT IN THE FAMILY HOME SO I APPLIED FOR THE POSITION OF RECEPTIONIST. THE POSITION REQUIRED NOT ONLY [WORKING] AS A RECEPTIONIST BUT AS A BOOKKEEPER AND AN OFFICE MANAGER. I HESITATED ONCE I WAS INFORMED OF THIS RESPONSIBILITY, BUT I UNDERTOOK THE POSITION AND DID ALL OF THE REQUIREMENTS THAT WAS EXPECTED OF ME. THE LAW FIRM AT THAT TIME CONSISTED OF CHARLES VIRTUE, WILLIAM RUSSELL, MR. GORDON AND THEN LATER ON, THERE WAS VAUGHN HEMBROFF THAT BECAME PARTNER AND GLENN MORRISON. IT’S ALWAYS MEANT A LOT OF THE PAST HISTORY OF MY LIFE. THINKING HOW I WAS HONOURED TO BE WITH THAT FIRM, THESE LITTLE ITEMS THAT WERE GIVEN TO ME JUST EVEN MEANT ALL THE MORE.” “BUT I REMEMBER DISTINCTLY THAT THEY SAID I COULDN’T LEAVE [IN 1964] UNTIL I HIRED SOMEONE THAT COULD REPLACE ME. THEY GAVE ME THE RESPONSIBILITY OF FINDING SOMEONE. MY INTENTION AT THAT TIME WAS TO LEAVE AND MOVE TO MONTREAL. I WAS LIMITED IN THE TIME THAT THIS RESPONSIBILITY WAS GIVEN, AND I DID SUGGEST A PARTICULAR PERSON BUT SHE ONLY WORKED THERE FOR A SHORT TIME AND THEY DIDN’T FEEL THAT SHE QUALIFIED AND COULD HANDLE THE WORK THAT I HAD TAKEN ON. THEN I HAD TO CONTINUE TO STAY UNTIL THEY FELT COMFORTABLE THAT THERE WAS SOMEONE THAT COULD REPLACE ME AND IT MUST HAVE BEEN 1965 [THAT I LEFT].” “EACH ONE OF THE LAWYERS HAD THEIR OWN PRIVATE SECRETARIES. ONE WOMAN IN PARTICULAR…MARY, WAS EXCELLENT IN TAKING LETTERS AND WAS AN EXCELLENT LAW SECRETARY, BUT COULD NOT DO THE BOOKKEEPING. I UNDERTOOK TO DO THE BOOKKEEPING FOR THE SECRETARIES AND THEREFORE, THERE HAD TO BE, AT LEAST FOUR EXTRA GIRLS AS SECRETARIES THERE. AS THEY INCREASED WITH STAFF, THEY WOULD ALSO HIRE MORE SECRETARIES.” ON MR. GLADSTONE VIRTUE, BERLANDO STATED, “I ADMIRED HIM BECAUSE HE DEMANDED RESPECT, HE DEMANDED PROFESSIONALISM. HE WAS VERY SERIOUS ABOUT HIS CLIENTS AND THEY HAD TO BE TREATED LIKE IT WAS AN HONOUR TO HAVE HIM AS THEIR LAWYER. HE WAS NOT A TALL MAN IN STATURE BUT HE STOOD OUT AS A SPECIAL PERSON…BUT HIS CLIENTS CAME FIRST. HE WOULD NEVER HESITATE TO MAKE SURE THAT IF HE HAD A CLIENT OR HAD AN APPOINTMENT THAT I HAD TO MAKE SURE THEY WERE TAKEN CARE OF. HE USED TO INVEST THROUGH THE ROYAL BANK AND HE WOULD HAVE ME GO DOWN AND MEET WITH THE MANAGER. [I WOULD] LET THEM KNOW THAT I WAS THERE ON BEHALF OF MR. VIRTUE AND PRESENT THEM WITH WHATEVER INFORMATION HE GAVE ME…THEY WERE TO TAKE CARE OF THAT. SO HE REALLY MADE ME HIS PERSONAL PERSON TO LOOK AFTER ALL OF HIS PRIVATE AFFAIRS, WHICH TO ME WAS AN HONOUR…EVEN THE LAWYERS HAD SO MUCH RESPECT FOR HIM. WHEN HE MADE A STATEMENT OR A COMMAND OR MADE INSTRUCTIONS FOR CHANGES, THEY WERE MADE AND THEY HAD TO BE ABIDED.” BERLANDO SPOKE ABOUT HER SENTIMENTS ON DONATING THE CRUCIFIX TO THE MUSEUM, NOTING, “AT THE AGE OF NINETY-ONE, WHICH I HAVE BEEN VERY FORTUNATE TO LIVE THIS LENGTH OF TIME, I HAVE TO TAKE INTO CONSIDERATION MANY ITEMS THAT I FEEL SHOULD BE INHERITED BY MY FAMILY…BUT NOT KNOWING THE IMPORTANCE OF THIS GIFT…[I WISH TO] LEAVE IT TO NO ONE OTHER THAN I FEEL THAT DESERVES TO HAVE IT, [WHICH] WOULD BE THE GALT MUSEUM. I DO WISH TO LEAVE IT TO SOMEONE THAT I THINK MAYBE COULD CARRY ON A LITTLE IMPORTANCE OF THE GIFT THAT WAS HANDED TO ME.” “I THINK THAT IT PUTS SUCH A TRUST IN ME, THAT I FEEL NOW, EVEN IN THE YEARS GONE BY, HOW I’VE ALWAYS WANTED SOMEONE, OR ANYONE THAT HAD ANY CONNECTIONS WITH ME, THAT THEY COULD TRUST ME. THAT I WOULD NEVER WANT TO HURT ANYONE AND I WOULD WANT TO CONTINUE TO HELP PEOPLE. WHEN I HEAR PEOPLE IN DISCUSSION OR IN COMMENTS THAT THEY CAN RECALL THINGS THAT I HAVE DONE FOR THEM THAT I CAN’T REMEMBER…I GUESS IT’S JUST MY NATURE TO BE THAT TYPE OF PERSON. [BUT] IF SOMEONE LIKE MR. VIRTUE COULD TRUST ME, AND THEN CLIENTS CAN TRUST ME, I THINK IT INSTILLED [A] TRUST THAT I’LL CARRY TO MY GRAVE.” ABNER GLADSTONE VIRTUE GRADUATED FROM THE UNIVERSITY OF ALBERTA IN 1913 AND BEGAN HIS CAREER IN LAW SHORTLY BEFORE THE START OF THE FIRST WORLD WAR. IN 1915, VIRTUE ENLISTED IN THE LETHBRIDGE MILITIA UNIT, THE 25TH FIELD ARTILLERY. UPON ITS FORMATION, VIRTUE ENLISTED AS A LIEUTENANT WITH THE LETHBRIDGE 61ST BATTERY THAT JOINED FRONT LINES IN FRANCE IN 1917. VIRTUE RESUMED HIS LAW PRACTICE IN LETHBRIDGE FOLLOWING HIS RETUN FROM THE WAR, AND BECAME A SENIOR PARTNER IN THE FIRM OF VIRTUE, RUSSELL, MORGAN AND VIRTUE. FOR MORE INFORMATION INCLUDING ARTICLES ON THE BELL AND VIRTUE’S INVOLVEMENT FROM THE LETHBRIDGE HERALD, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170034001-GA.
Catalogue Number
P20170034001
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
GLASS
Catalogue Number
P20120045011
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
GLASS
No. Pieces
1
Height
3.5
Diameter
7.4
Description
GLASS CANDLE HOLDER IN 8-POINT STAR SHAPE WITH CENTER HOLE FOR CANDLE. STAR POINTS INDENT ON TOP SURFACE, NARROW IN TO BASE. BASE AND LOWER EDGE HAVE WHITE, MELTED WAX RESIDUE THAT IS STAINED; TOP SURFACE HAS WHITE, MELTED WAX RESIDUE AROUND CENTER HOLE AND STAR POINTS. OVERALL IN VERY GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
ASSOCIATIONS
History
ON AUGUST 21, 2018, COLLECTIONS TECHNICIAN INTERVIEWED LLOYD CAREFOOT REGARDING HIS DONATION OF MEMORABILIA RELATED TO COURT WINDY WEST (#562) LETHBRIDGE CHAPTER OF THE INDEPENDENT ORDER OF FORESTERS. CAREFOOT WAS ACTIVELY INVOLVED WITH THE FORESTERS WHILE HE LIVED IN EDMONTON, ALBERTA, AND CONTINUED HIS INVOLVEMENT FOLLOWING HIS MOVE TO LETHBRIDGE IN 1963. ON THE PURPOSE AND HISTORY OF THE CANDLEHOLDER, CAREFOOT NOTED, “THE TABLE WITH OUR RITUAL THINGS ON IT, HAD CANDLES. [THE CANDLES] WERE TALL, SO THEY WENT FOR THE WHOLE MEETING. I DID USE THEM TO START WITH BUT BY THE TIME I HAD MY LAST PRESIDENCY, I DIDN’T EVEN USE THAT PART.” “[MEMBERS STOPPED USING IT BECAUSE] SOCIETY HAD CHANGED ENOUGH THAT THEY DIDN’T WANT TO BOTHER WITH THAT RITUAL. I SUSPECT THAT’S WHY. [THE RITUALS WERE] KIND OF STRANGE TO ME. BUT I ACCEPTED IT BECAUSE THAT IS PART OF WHAT YOU DID.” WHEN ASKED ABOUT HIS TIME SPENT IN THE FORESTERS, CAREFOOT RECALLED, “WE [WIFE RUTH AND LLOYD] WERE INVITED TO [AN] ACTIVITY. [IN THOSE] DAYS THERE [WERE] SOCIAL PARTIES…SOMEBODY THAT I KNEW INVITED ME TO COME AND I HEARD WHAT THEY WERE DOING. IT WAS SOMETHING THAT RUTH AND I THOUGHT…WOULD BE SOMETHING WE’D LIKE TO BE INVOLVED IN…MY FATHER WAS A MEMBER OF THE CANADIAN ORDER OF FORESTERS WHICH WAS A STAGE BEFORE THE INDEPENDENT ORDER OF FORESTERS.” “I BECAME A MEMBER IN EDMONTON… I WAS ONLY AS ASSOCIATE AT THAT TIME. WHEN WE MOVED DOWN HERE, WE BECAME MEMBERS HERE…MY FIRST WORKDAY WAS THE SECOND OF JANUARY, 1963 [IN LETHBRIDGE]. I WAS A FULL-BLOWN MEMBER IN 1966.” “[I JOINED BECAUSE OF] THE SATISFACTION THAT IT’S A STRONG CHARITABLE WAY OF DOING THINGS TO GIVE BACK. THAT’S PART OF MY PHILOSOPHY; JUST GIVE A LITTLE BACK FOR THE GOOD LIFE I’VE HAD.” “I WAS THE PRESIDENT OF THE LEAGUE…OF [THE] LETHBRIDGE CHAPTER. AND [I] WOUND UP WITH [THE TRUNK] AND IN IT [WERE] THESE THINGS. IT PRE-DATES ME.” “MOST OF THOSE THINGS WERE FOR MY PERSONAL USE…EITHER IN EVENTS OR A POSITION I HELD IN THE FORESTERS. I LOOK AT [THE OBJECTS] AND I SMILE.” REGARDING HIS DONATION, CAREFOOT ELABPRATED, “THE FORESTERS IN THE COMMUNITY DID A LOT OF CHARITY WORK AND I THOUGHT IT WAS A WAY OF COVERING FOR THE FUTURE [ABOUT] THE THINGS THAT WE DID, OR STILL DO. THAT WAS, MORE THAN ANYTHING ELSE, MY REASON FOR [DONATING IT] – A WAY OF PASSING IT ALONG SO IT JUST DIDN’T GET SHOVED IN THE JUNK…TO SOMEBODY IN THE FUTURE, IT INDICATES SOMETHING OF WHAT WE DID AND SOME ILLUSTRATION OF THINGS THAT WE DID. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20120045001-GA.
Catalogue Number
P20120045011
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Other Name
BIBLE
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
PAPER, LEATHER, INK
Catalogue Number
P20120045012
  2 images  
Material Type
Artifact
Other Name
BIBLE
Date Range From
1950
Date Range To
1960
Materials
PAPER, LEATHER, INK
No. Pieces
2
Height
3.3
Length
20
Width
13
Description
A. BLACK LEATHER COVER WITH COVER TEXT ON SPINE AND FRONT COVER, “HOLY BIBLE” AND AT BASE OF SPINE “CAMBRIDGE”. COVER AND SPINE ARE SCUFFED AND WORN; TOP AND BOTTOM EDGE ARE CURLED IN. PAGES ARE EDGED IN RED. REVERSE OF FIRST PAGE HAS HANDWRITTEN IN BLACK IN “BEST WISH FOR YOUR BIRTHDAY, FROM JOYCE.” OLD AND NEW TESTAMENT BIBLE, “APPOINTED TO BE READ IN CHURCHES”. “PRINTED BY JAMES B. PEACE, M.A., AT THE CAMBRIDGE UNIVERSITY PRESS”, “LONDON: CAMBRIDGE UNIVERSITY PRESS, FETTER LANE, E.C.”. INSIDE BACK COVER HAS STAINING AND SOILING. OVERALL GOOD CONDITION. B. TORN PAGE FROM “HOLY BIBLE”. PAGE 127 AND 128, “NUMBERS 16-18”, “HIS ROD BUDDETH”. PAGE HAS A CREASE ALONG LEFT EDGE.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ASSOCIATIONS
RELIGION
History
ON AUGUST 21, 2018, COLLECTIONS TECHNICIAN INTERVIEWED LLOYD CAREFOOT REGARDING HIS DONATION OF MEMORABILIA RELATED TO COURT WINDY WEST (#562) LETHBRIDGE CHAPTER OF THE INDEPENDENT ORDER OF FORESTERS. CAREFOOT WAS ACTIVELY INVOLVED WITH THE FORESTERS WHILE HE LIVED IN EDMONTON, ALBERTA, AND CONTINUED HIS INVOLVEMENT FOLLOWING HIS MOVE TO LETHBRIDGE IN 1963. ON THE PURPOSE AND HISTORY OF THE BIBLE, CAREFOOT NOTED, “[THE BIBLE] WAS ON THE TABLE [WITH THE CANDLES AT RITUALS].” “[MEMBERS STOPPED USING IT BECAUSE] SOCIETY HAD CHANGED ENOUGH THAT THEY DIDN’T WANT TO BOTHER WITH THAT RITUAL. I SUSPECT THAT’S WHY. [THE RITUALS WERE] KIND OF STRANGE TO ME. BUT I ACCEPTED IT BECAUSE THAT IS PART OF WHAT YOU DID.” WHEN ASKED ABOUT HIS TIME SPENT IN THE FORESTERS, CAREFOOT RECALLED, “WE [WIFE RUTH AND LLOYD] WERE INVITED TO [AN] ACTIVITY. [IN THOSE] DAYS THERE [WERE] SOCIAL PARTIES…SOMEBODY THAT I KNEW INVITED ME TO COME AND I HEARD WHAT THEY WERE DOING. IT WAS SOMETHING THAT RUTH AND I THOUGHT…WOULD BE SOMETHING WE’D LIKE TO BE INVOLVED IN…MY FATHER WAS A MEMBER OF THE CANADIAN ORDER OF FORESTERS WHICH WAS A STAGE BEFORE THE INDEPENDENT ORDER OF FORESTERS.” “I BECAME A MEMBER IN EDMONTON… I WAS ONLY AS ASSOCIATE AT THAT TIME. WHEN WE MOVED DOWN HERE, WE BECAME MEMBERS HERE…MY FIRST WORKDAY WAS THE SECOND OF JANUARY, 1963 [IN LETHBRIDGE]. I WAS A FULL-BLOWN MEMBER IN 1966.” “[I JOINED BECAUSE OF] THE SATISFACTION THAT IT’S A STRONG CHARITABLE WAY OF DOING THINGS TO GIVE BACK. THAT’S PART OF MY PHILOSOPHY; JUST GIVE A LITTLE BACK FOR THE GOOD LIFE I’VE HAD.” “I WAS THE PRESIDENT OF THE LEAGUE…OF [THE] LETHBRIDGE CHAPTER. AND [I] WOUND UP WITH [THE TRUNK] AND IN IT [WERE] THESE THINGS. IT PRE-DATES ME.” “MOST OF THOSE THINGS WERE FOR MY PERSONAL USE…EITHER IN EVENTS OR A POSITION I HELD IN THE FORESTERS. I LOOK AT [THE OBJECTS] AND I SMILE.” REGARDING HIS DONATION, CAREFOOT ELABPRATED, “THE FORESTERS IN THE COMMUNITY DID A LOT OF CHARITY WORK AND I THOUGHT IT WAS A WAY OF COVERING FOR THE FUTURE [ABOUT] THE THINGS THAT WE DID, OR STILL DO. THAT WAS, MORE THAN ANYTHING ELSE, MY REASON FOR [DONATING IT] – A WAY OF PASSING IT ALONG SO IT JUST DIDN’T GET SHOVED IN THE JUNK…TO SOMEBODY IN THE FUTURE, IT INDICATES SOMETHING OF WHAT WE DID AND SOME ILLUSTRATION OF THINGS THAT WE DID. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20120045001-GA.
Catalogue Number
P20120045012
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Other Name
"FRANK... DOMINION AVE. FRANK SLIDE 1903" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031001
  1 image  
Material Type
Artifact
Other Name
"FRANK... DOMINION AVE. FRANK SLIDE 1903" - IRENE MCCAUGHERTY
Date
1984
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
29.6
Length
57.8
Width
2.1
Description
“FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903” PAINTING, WATERCOLOUR/INK – LANDSCAPE (RECEDING ROAD/MOUNTIAN), “IRENE MCCAUGHERTY”, 1984. A FRAMED WATERCOLOUR WITH INK LINE DRAWING AND ACRYLIC HIGHLIGHT, UNDER A MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 4.6 CM LENGTH AND 16.5 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS A RECEDING ROAD, LINED ON BOTH SIDES WITH BUILDINGS, FIGURES LOOKING OUT THE TOP WINDOWS. IN THE BACKGROUND LIES MOUNTAINS AND A ROCKSLIDE WHILE IN THE CENTER FOREGROUND TWO FIGURES RUN ACROSS THE ROAD. THE PAINTING IS PRIMARILY GREY WASHES, PALE GREEN, BLUE, YELLOW, AND ORANGE USED IN THE BUILDINGS. IN THE BOTTOM LEFT CORNER THE PAINTING IS TITLED AND SIGNED “FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903 IRENE MCCAUGHERTY 1984” IN BLACK INK, THE WORDS “FRANK SLIDE” WRITTEN WITH A THICKER PEN. THE FRAME IS A THIN SILVER METAL WITH A WIRE HANGER ON THE BACK. THE MAT IS GREY, WITH A CUT OUT FRAME MEASURING 1.9CM WIDE AROUND THE SIGHT EDGE OF THE PAINTING. THE PAINTING HAS CREASES THROUGH ITS CENTER, LIKELY FROM BEING FOLDED IN HALF BEFORE FRAMING.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” “[THIS PAINTING OF THE] FRANK SLIDE,” MCCAUGHERTY SAID – WHILE LOOKING AT THE PAINTING TITLED, “FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903,” “[IS ONE] I’M SURPRISED DIDN’T GO SOONER, BECAUSE IT’S A PART OF HISTORY AND QUITE A WELL-KNOWN PART.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031001
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"THE ARCH, SPRING CHINOOK" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031002
  1 image  
Material Type
Artifact
Other Name
"THE ARCH, SPRING CHINOOK" - IRENE MCCAUGHERTY
Date
1989
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
36.2
Length
47.7
Width
1.8
Description
“THE ARCH SPRING CHINOOK” PAINTING, WATERCOLOUR/INK - LANDSCAPE (SNOW BALL FIGHT), “IRENE MCCAUGHERTY”, 1989. A FRAMED WATERCOLOUR WITH INK LINE DRAWING AND ACRYLIC HIGHLIGHTS, UNDER A TWO LAYERED MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 26.7 CM LENGTH AND 13.9 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS THREE HOUSES UNDERNEATH A LAYER OF SNOW, WITH FIGURES IN THE FOREGROUND CREATING SNOWMEN AND HAVING A SNOWBALL FIGHT. THE PAINTING IS PRIMARILY BARE WHITE PAPER, WITH A BLUE, GREY WASH OF THE SKY. THE THREE HOUSES ARE YELLOW, PINK, AND BLUE, THE FIGURES PRIMARILY RED AND BLACK. IN THE BOTTOM RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “THE ARCH SPRING CHINOOK IRENE MCCAUGHERTY 1989” IN BLACK INK. THE FRAME IS A THIN SILVER METAL WITH A WIRE HANGER ON THE BACK. THE TOP MAT IS WHITE, WITH A YELLOW EDGE AND THE BOTTOM MAT PALE BLUE WITH A YELLOW EDGE. THE GLASS OF THE FRAME IS SCRATCHED, ABOVE THE MAT.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” “NOW THIS IS SOMETHING,” MCCAUGHERTY EXCLAIMED AS HE LOOKED AT THE WORK TITLED, “THE ARCH SPRING CHINOOK,” “KIDS PLAYING OUT IN THE SNOW. [IT REMINDS ME OF] WHERE I WENT TO A SMALL SCHOOL. WE WENT OUTSIDE AND PLAYED IN THE SNOW. IT WAS EXPECTED THAT THAT WAS WHAT YOU WERE GOING TO DO. SCHOOLS WEREN’T THAT BIG. THIS WOULD BE GRADES ONE TO GRADE NINES IN THE SAME SCHOOL.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031002
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031003
  1 image  
Material Type
Artifact
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Date
1982
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
40.5
Length
74
Width
2.7
Description
“EASTER SUNDAY 1907” PAINTING, WATERCOLOUR/INK – LANDSCAPE (HOUSES/HORSE CARRIAGES), “IRENE E. MCCAUGHERTY”, 1982. A FRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING, UNDER A TWO LAYERED MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 53.8 CM LENGTH AND 19 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS A STREET, FRAMED BY SIDEWALKS, WITH A COLLECTION OF HOUSES IN THE BACKGROUND WITH A CHURCH WITHIN THEM. THE SCENE IS FULL OF FIGURES, MEN IN BLACK, WOMEN IN COLOURED DRESSES, AND FIVE HORSE CARRIAGES TRAVELLING THE ROAD. THE PAINTING IS PRIMARILY GREY AND GREEN-BLUE WASHES, WITH GREEN, YELLOW, BLUE, AND BROWN COLOURS IN THE LINE OF HOUSES IN THE MIDDLE. IN THE BOTTOM LEFT CORNER THE PAINTING IS TITLED AND SIGNED “EASTER SUNDAY 1907 IRENE E MCCAUGHERTY 1982” IN BLACK INK. THE WOODEN FRAME IS GREY AND A REDDISH-BROWN WITH A WIRE HANGER ON THE BACK. THE MAT MIRRORS THE COLOUR SCHEME OF THE FRAME, PALE GREY ON THE TOP LEVEL, PALE REDDISH-BROWN ON THE BOTTOM. THE TWO PIECES OF THE FRAME THAT MEET AT THE TOP RIGHT HAND CORNER ARE SPLIT FROM EACH OTHER.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” ONE WORK INCLUDED IN THE COLLECTION IS TITLED, “EASTER SUNDAY 1907.” OF THE PAINTING, MCCAUGHERTY DESCRIBED, “THIS IS AN EASTER SUNDAY [SCENE AND I IMAGINE IS TYPICAL OF] WHAT IT WAS ON THAT SUNDAY. PEOPLE DIDN’T HAVE CARS, SO IT WAS BUGGIES…” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031003
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Material Type
Artifact
Materials
GLASS, BRASS
Catalogue Number
P20160037000
  1 image  
Material Type
Artifact
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Materials
GLASS, BRASS
No. Pieces
2
Height
29
Diameter
16
Description
A: GLASS KEROSENE LAMP THAT HAS A FROSTED GLASS OIL LAMP BODY, WHICH IS ATTACHED TO A RED BASE. ON OIL LAMP BODY, THERE ARE 10 BLACK SCOTTISH TERRIERS PAINTED AROUND THE DIAMETER OF THE LAMP. THERE IS A METAL COLLAR AND BURNER WITH FOUR PRONGS ATTACHED TO HOLD THE REMOVABLE, GLASS CHIMNEY IN PLACE. THERE IS A USED WICK IN THE BURNER. IT SAYS, “QUEEN MARY” ON THE BURNER. THERE ARE SEAMS CONNECTING THE GLASS AT BOTH SIDES FOR THE LAMP BODY AND THE BASE. THE BODY SEAMS AND THE BASE SEAMS DO NOT MEET. ON THE UNDERSIDE OF THE LAMP THERE IS AN EMBOSSED VINE DESIGN. GOOD CONDITION. REGULAR WEAR AT THE TOP INCLUDING SLIGHT RUSTING AND BURN MARKS. THERE IS A SMALL SCRATCH TO THE LEFT OF GLASS SEAM ON THE BASE. B: GLASS, LAMP CHIMNEY WITH 22 CM IN HEIGHT AND A TOP DIAMETER OF 5 CM AND A BOTTOM DIAMETER OF 7.4 CM. GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
DOMESTIC
History
ON 26 OCTOBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH DIANE CÔTÉ (NEE ULLY), WHO DONATED A KEROSENE LAMP THAT HAD BEEN USED THROUGHOUT HER CHILDHOOD. THIS LAMP WAS USED ON THE ULLY FAMILY FARM IN PICTURE BUTTE, AND LATER WHEN THE FAMILY MOVED TO FISHBURN IN THE PINCHER CREEK AREA. IT WAS FINALLY BROUGHT TO THE HOME WHERE CÔTÉ’S PARENTS, FREDRICK CARL ULLY AND SAIMI MARY ULLY, RETIRED IN THE TOWN OF PINCHER CREEK. CÔTÉ RECALLS, “YOU KNOW I DON’T EVEN REMEMBER IF WE HAD POWER AT PICTURE BUTTE, BUT I DON’T THINK WE DID… THE ONLY THING I CAN THINK ABOUT FROM THERE IS WE HAD SEPARATE BEDROOMS IN PICTURE BUTTE. AND I COULD SEE [MY MOM] GOING INTO MOM AND DAD’S BEDROOM WITH [THE LAMP] ONE NIGHT, BUT THAT’S ALL I SEE.” CÔTÉ REMEMBERS THE LAMP’S PRESENCE ON THEIR FARM IN THE PINCHER CREEK AREA AFTER MOVING THERE IN 1952: “I CAN STILL HEAR MY MOTHER SAYING TO ME, ‘YOU DON’T TOUCH THAT LAMP,’ JUST AS PLAIN AS IF IT WAS YESTERDAY. SHE SAID SHE WAS SO WORRIED ABOUT A FIRE. I WAS TEN WHEN WE MOVED [TO FISHBURN. I LATER REALIZED SHE WAS RIGHT; I WAS] PROBABLY NOT RESPONSIBLE ENOUGH TO TOUCH THE LAMP, IN CASE IT DROPPED OR [IF I] BROKE IT. WE ONLY HAD A TWO BEDROOM HOUSE, AND I HAD A BROTHER, SO I SLEPT WITH MY MOTHER AND MY BROTHER SLEPT WITH MY DAD… I REMEMBER MY MOTHER CARRYING [THE LAMP] AROUND A LOT. WHEN I THINK OF HER, I THINK OF THE LAMP TOO. EVERY NIGHT AT BEDTIME, SHE AND I WERE USUALLY THE LAST ONES TO GO TO BED, SO I REMEMBER SHE PICKED UP THE LAMP [OFF THE KITCHEN TABLE] AND WE TROTTED OFF TO BED… WE DID THAT TRIP SO MANY TIMES - EVERY SINGLE NIGHT. THAT’S JUST SOMETHING THAT HAS STUCK WITH ME…” “WHEN WE FIRST MOVED [TO FISHBURN], IT WAS [THE ONLY SOURCE OF LIGHT IN THE HOUSE]. THEN LATER ON, THEY GOT A CAMPING LAMP THAT [HAD] A HANDLE. THE HOUSE WE MOVED [INTO] WAS AN OLD, OLD, OLD LOG HOUSE. I THINK IT WAS 100 YEARS OLD WHEN WE MOVED INTO IT. IT HAD THE ACTUAL LOGS. THEY WEREN’T PLANED; THEY WERE JUST THE ACTUAL LOGS WITH WHITEWASH ON THEM. HE PUT A THING UP THERE, SO THEN WE COULD LIGHT THIS LAMP UP AND HANG IT UP ON THE ROOF. I DON’T REMEMBER WHEN WE GOT POWER. I REMEMBER THEM PUTTING THE POSTS UP IN MY YARD, BUT I DON’T REMEMBER WHEN IT WAS. I WOULD THINK SOMEWHERE IN THE ‘50’S, AFTER THAT, AFTER WE GOT THAT LAMP, THEN THIS ONE WASN’T USED AS MUCH, BUT IT WAS STILL SITTING ON MY DRESSER… THAT WAS NORMAL FOR US, UNTIL DAD GOT THE ONE HE PUT IN THE ROOF. THE ONLY THING THE ONE ON THE ROOF DID WAS GIVE US WAY MORE LIGHT. OUR TABLE WAS HERE AND OUR CUPBOARD WAS WAY OVER [THERE], SO IF [THIS LAMP] WAS THE ONLY LIGHT YOU HAD, AND YOU NEEDED LIGHT, YOU HAD TO TAKE THAT FROM [HERE] TO THE CUPBOARD TO SEE WHAT YOU WERE DOING. THE OTHER LAMP PROVIDED US WITH LIGHT THAT WE DIDN’T HAVE TO MOVE, YOU COULD JUST TURN IT ON AND OFF.” CÔTÉ’S PARENTS THEN MOVED TO PINCHER CREEK, WHERE THE LAMP WAS MOVED WITH THEM. WHEN ASKED WHEN THEY MOVED, COTÉ RESPONDED, “PROBABLY 1970 OR ’71.” CÔTÉ ACQUIRED THE LAMP AFTER THE PASSING OF HER FATHER ON JANUARY 9, 2012. “YOU WOULDN’T BELIEVE THE STUFF THEY HAD IN THEIR HOUSE. THEY GREW UP IN THE DIRTY THIRTIES, SO THEY COLLECTED EVERYTHING… I KNOW, PRIOR TO MY MOM’S PASSING [ON SEPTEMBER 21, 2004], THEY HAD A THREE BEDROOM HOUSE. AND THE SPARE BEDROOM AT THE BACK, [THE LANTERN] WAS SITTING ON THE DRESSER THERE.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPT, THE LETHBRIDGE HERALD OBITUARIES FOR FRED AND SAIMI ULLY, AND FAMILY PHOTOGRAPHS.
Catalogue Number
P20160037000
Acquisition Date
2016-10
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010013
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
18.7
Length
23.9
Description
WATERCOLOUR ON PAPER PAINTING THAT DEPICTS SCENE OF FIELD WITH FENCES STRETCHING HORIZONTALLY ACROSS THE IMAGE. GUARD TOWER AND WATER TOWER ON THE LEFT SIDE OF THE IMAGE. HOUSES AMOUNG BUSHES. MOUNTAINS IN DISTANT BACKGROUND. THE WORK IS TITLED "LETHBRIDGE, KANADA," IN THE BOTTOM LEFT CORNER. THE BACK IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER. SLIGHT FOXING OVERALL. WRINKLE ON BACK RIGHT EDGE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA" DEPICTS THAT CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010013
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"UMNAK"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010014
  2 images  
Material Type
Artifact
Other Name
"UMNAK"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
19
Length
27.5
Description
WATERCOLOUR ON PAPER PAINTING DEPICTING A SNOW-COVERED SCENE OF A CAMP, INCLUDING A FIGURE IN FRONT OF TENTS WITH MOUNTAINS IN THE BACKGROUND. BLANK BORDER AROUND ALL SIDES. SIGNED "UMNAK" ON THE BOTTOM LEFT AND "K. ENGEL." ON THE BOTTOM RIGHT. THE BACK SIDE IS STAMPED WITH A CIRCULAR CENSOR STAMP THAT READS, "INT. OP. CANADA CENSORED 51." VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; SLIGHT WRINKLES AT UPPER AND LEFT EDGES.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010014
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER OZADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010015
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER OZADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
12.8
Length
20.4
Description
WATERCOLOUR ON PAPER PAINTING DEPICTING SCENE OF CAMP IDENTICAL TO P20160010010, BUT IN COLOUR INSTEAD OF GRAPHITE. THE IMAGE INCLUDES ROW OF TENTS ON THE LEFT SIDE, FENCING RECEDING FROM THE BOTTOM RIGHT CORNER, AND WATCHTOWERS ON THE RIGHT SIDE OF THE SCENE. MOUNTAINS IN THE BACKGROUND. THE PAINTING IS TITLED, "K. G. LAGER OZADA" ON THE BOTTOM LEFT. THE BACK SIDE IS STAMPED WITH A CIRCULAR CENSOR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF THE PAPER; SLIGHT FOXING AT THE UPPER LEFT; PENCIL MARK IN THE TOP LEFT OF THE BACK.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010015
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"KANADA, OZADA; K. G. LAGER; 21 NOVEMBER 1944"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010016
  2 images  
Material Type
Artifact
Other Name
"KANADA, OZADA; K. G. LAGER; 21 NOVEMBER 1944"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
17.4
Length
23.5
Description
WATERCOLOUR ON PAPER PAINTING WITH THREE GREY STRUCTURES ON THE LEFT WITH A PATH LEADING UP TO THEM. ROW OF TENTS ON THE RIGHT OF IMAGE. HILLS AND MOUNTAINS IN THE BACKGROUND AND COLOURFUL SKY. THE BACK SIDE IS SIGNED IN PENCIL READING, "KANADA, OZADA; K. G. LAGER; 21. NOVEMBER 1944." CENSOR STAMPED. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF THE PAPER; THREE MODERATE BROWN STAINS ON THE BOTTOM RIGHT QUADRANT OF THE WORK. BOTH CORNERS OF THE LEFT SIDE ARE CURLING UP.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
N 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). HE WAS TRANSFERRED THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THIS DRAWING, TITLED "KANADA, OZADA; K. G. LAGER; 21. NOVEMBER 1944," DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010016
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010017
  2 images  
Material Type
Artifact
Other Name
"OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
30
Length
22.1
Description
WATERCOLOUR ON PAPER PAINTING OF A SNOW-COVERED CAMP WITH 3 TENTS ON THE LEFT SIDE OF THE SCENE. WHITE STRUCTURE TO THE RIGHT OF THE TENTS. WATCHTOWER BEHIND TENTS AND MOUNTAINS IN THE BACKGROUND. THE PAINTING IS TITLED "OZADA, KANADA" ON THE BOTTOM LEFT AND SIGNED BY THE ARTIST "K. ENGEL" ON THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED - "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; WRINKLING AT THE TOP AND BOTTOM EDGES; AND FOXING ON THE BACK.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). HE WAS TRANSFERRED TO THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THIS DRAWING, TITLED "OZADA KANADA," DEPICTS THAT CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010017
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010018
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
17.4
Length
21.3
Description
WATERCOLOUR ON PAPER PAINTING DEPICTING SCENE OF FIELD WITH FENCE AND A GUARD TOWER. DARK BLUE-GREY SKY. SIGNED "K.G. LAGER LETHBRIDGE, KANADA" IN BOTTOM LEFT. CENSOR STAMPED, "INT. OP. CANADA CENSORED 51" ON THE BACK SIDE. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING IS TITLED, "K. G. LAGER LETHBRIDGE, KANADA" AND DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010018
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010019
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
18.5
Length
27
Description
BLACK INK DRAWING ON PAPER OF BUILDINGS WITH TWO SMOKESTACKS. BLANK BORDER AROUND THE EDGES OF THE PICTURE. THERE IS WRITING ON THE BACK IN PENCIL THAT SAYS, "LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945". THE BACK SIDE IS CENSOR STAMPED "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA; K. G. LAGER, REVIER; JANUAR 1945" DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010019
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010020
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
18.3
Length
27
Description
BLACK INK ON PAPER DRAWING OF SCENE WITH MULTIPLE BUILDINGS THAT HAVE FLAT ROOFTOPS. THERE ARE STAIRCASES ON THE SIDES OF MANY OF THE BUILDINGS. BLANK BORDER AROUND ALL SIDES OF THE IMAGE. THE BACK SIDE IS SIGNED IN PENCIL, "LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945." THE BACK IS CENSOR STAMPED. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; BENDS AT THE BOTTOM CORNERS; INK IS COMING THROUGH THE PAPER ON THE BACKSIDE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA; K. G. LAGER; JANUAR 1945" DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010020
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA MUSIK-HALLE; JAN. 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010021
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA MUSIK-HALLE; JAN. 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
8.6
Length
27.2
Description
BLACK INK DRAWING ON PAPER OF BUILDING IN FOREGROUND WITH MUILTIPLE BUILDINGS IN BACKGROUND. FIELD SET IN THE FOREGROUND AND A CLOUDY SKY. BLANK BORDER AROUND THE IMAGE. THE DRAWING IS SIGNED "LETHBRIDGE, KANADA MUSIK-HALLE; JAN. 1945" IN THE BOTTOM LEFT. THE BACK SIDE IS SIGNED IN PENCIL, "LETHBRIDGE, KANADA; K. G. LAGER UNTERHALTUNGS HALLE; JANUAR 1945". VERY GOOD TO EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; BENDS AT THE BOTTOM CORNERS; INK COMING THROUGH TO THE BACK SIDE OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED, "LETHBRIDGE, KANADA, MUSIK-HALLE, JAN. 1945," DEPICTS THE MUSIC HALL IN THE CAMP. THE DESCRIPTION ON THE BACKSIDE INCLUDES "K. G. LAGER UNTERHALTUNGS HALLE." WHICH WOULD TRANSLATE IN ENGLISH TO POW CAMP ENTERTAINMENT HALL. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010021
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP; JAN. 1945"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010022
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP; JAN. 1945"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
18.3
Length
26.2
Description
BLACK INK DRAWING ON PAPER DEPICTING A SCENE OF A SILO BEHIND TALL WIRED FENCING. FIELD SET IN FRONT OF THE SCENE. THE BOTTOM LEFT IS SIGNED, "LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP; JAN. 1945." THE BACK SIDE IS SIGNED IN PENCIL, "LETHBRIDGE, KANADA; SILO ROM K. G. LAGER GESEHEN; JANUAR 1945". THE BACK IS CENSOR STAMPED. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE / KANADA SILO OUTSIDE THE CAMP, JAN. 1945," DEPICTS THE AREA AROUND THE CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010022
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE/KANADA, CAMP; 09/NOV./1944"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
BLACK INK, PAPER
Catalogue Number
P20160010023
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE/KANADA, CAMP; 09/NOV./1944"
Date Range From
1942
Date Range To
1946
Materials
BLACK INK, PAPER
No. Pieces
1
Height
21
Length
25.7
Description
BLACK INK DRAWING ON PAPER. IMAGE CONTAINS STREET RECEDING INTO THE BACKGROUND WITH BUILDINGS ON EITHER SIDE. FIELD IN THE FOREGROUND WITH FENCE CUTTING HORIZONTALLY ACROSS IT. POWER LINES ON THE LEFT SIDE OF THE STREET. BLANK BORDER AROUND SIDES. THE DRAWING IS SIGNED, "LETHBRIDGE/KANADA, CAMP; 09/NOV./1944" ON THE BOTTOM LEFT OF THE PAPER. THE BACK SIDE IS SIGNED WITH PENCIL, "KANADA, LETHBRIDGE; K. G. LAGER; 9. NOVEMBER 1944." THE BACK IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED." VERY GOOD / EXCELLENT CONDITION: SMALL STAIN ON THE BOTTOM LEFT.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE/KANADA, CAMP; 09/NOV./1944," DEPICTS THE LETHBRIDGE CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010023
Acquisition Date
2016-01
Collection
Museum
Images
Less detail

60 records – page 1 of 3.