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Date Range From
1899
Date Range To
1968
Material Type
Artifact
Materials
LEATHER, WOOD, METAL
Catalogue Number
P20170010000
  2 images  
Material Type
Artifact
Date Range From
1899
Date Range To
1968
Materials
LEATHER, WOOD, METAL
No. Pieces
12
Height
55.5
Length
28.5
Width
10
Description
A: RIGHT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN METAL NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. N…ON CO. SYRACCUSE N.Y. U.S.A.” THE BOOTS LEATHER IS WORN ON THE TOE AND SCRATCHED ALL OVER. A CUT IN THE LEATHER SITS ABOVE THE TOE. THE STITCHING AT THE BACK OF THE BOOT HAS TORN OPEN AND AT THE TOP OF THE BOOT, NEXT TO THE LEATHER PULL, THE BOOT IS SPLIT NEXT TO THE SEAM. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.5CM, W: 10 CM. CONDITION: GOOD. B: THE TOE-SHAPED PIECE OF THE RIGHT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT-SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “R”. THE VARNISH IS CHIPPED AND DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. C: THE FRONT PIECE OF THE RIGHT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “R”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “R” AND “6 R…”. THE VARNISH IS SCRATCHED AND DENTED, JUST AT THE TOP FRONT EDGE. H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: VERY GOOD. D: THE BACK PIECE OF THE RIGHT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “R”. THE VARNISH IS SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. E: THE MIDDLE PIECE OF THE RIGHT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, MINIMALLY SCRATCHED BUT DENTED AND DIMPLED. DIMENSIONS: H: 44.2 CM, L: 2.2 CM, W: 9 CM. CONDITION: VERY GOOD. F: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “L”. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 55 CM, L: 1.6 CM, W: 8.5 CM. CONDITION: GOOD. G: THE LEFT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN SILVER NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. NETTLET… CO. S…SE N.Y. ...S.A.” THE BOOTS LEATHER IS WORN OVER THE TOP OF THE FOOT, THE SIDE OF THE HEEL, AND SCRATCHED ALL OVER. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.8 CM, W: 9.7 CM. CONDITION: GOOD. H: THE TOE SHAPED PIECE OF THE LEFT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “L”. THE VARNISH IS MINIMALLY DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. I: THE FRONT PIECE OF THE LEFT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “L”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “L” AND “6 LEFT”. THE VARNISH IS SCRATCHED AND DENTED, MOSTLY AT THE TOP FRONT EDGE. DIMENSIONS: H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: GOOD. J: THE BACK PIECE OF THE LEFT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “L”. THE VARNISH IS MINIMALLY SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. K: THE MIDDLE PIECE OF THE LEFT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, SCRATCHED AND WORN IN PLACES. A KNOT IN THE WOOD HAS FALLEN OUT AND LEFT A HOLE IN THE TOP OF THE INSERT. DIMENSIONS: H: 44.3 CM, L: 2.5 CM, W: 9 CM. CONDITION: VERY GOOD. L: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “R” WITH TWO LINES DRAWN OVER IT. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. ON THE LEFT SIDE OF THE INSERT IS A NAIL, THE TOP GRINDED DOWN. DIMENSIONS: H: 55.5 CM, L: 1.9 CM, W: 8.6 CM. CONDITION: GOOD.
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
MILITARY
PROFESSIONS
LEISURE
History
THIS PAIR OF RIDING BOOTS BELONGED TO MURRAY NELSON, THE BROTHER DONOR KATHRYN HINMAN. TO LEARN MORE ABOUT THE HISTORY OF THESE BOOTS AND THEIR OWNER, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HINMAN AT THE MUSEUM ON MARCH 20, 2017. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “THE PREVIOUS OWNER OF THESE BOOTS WAS MY BROTHER, MURRAY [NELSON],” HINMAN BEGAN, “HE PASSED AWAY AT THE END OF NOVEMBER 2015… HE WAS A LOCAL MUSICIAN. HE CAME INTO THE POSSESSION OF THESE BOOTS FROM MY GRANDFATHER, GEORGE S. BROWN, WHO WAS LIEUTENANT COLONEL GEORGE S. BROWN. MY GRANDDAD WAS A GREAT FRIEND OF BRIGADIER GENERAL STEWART. GRANDDAD CAME INTO POSSESSION OF THESE BOOTS AT SOME POINT FROM DR. STEWART AND WHEN MY BROTHER WAS ABOUT EIGHTEEN, MY GRANDFATHER PASSED THEM ON TO HIM.” “[MURRAY DID] TELL ME THAT HE WAS IN THE GARAGE OUT AT THE FARM, WHICH IS ACTUALLY BROWN ROAD JUST OFF THE COUTTS’ HIGHWAY AND THAT WAS WHERE MY GRANDFATHER’S ACREAGE WAS. ON THAT ACREAGE, THERE WAS A GARAGE [AMONG] MANY BUILDINGS. MURRAY HAD SAID GRANDDAD HAD TAKEN HIM INTO THE GARAGE AND WHEN MURRAY EXPRESSED AN INTEREST IN [THE BOOTS THERE] GRANDDAD SAID, ‘YUP, YOU CAN HAVE THEM. THEY WERE GENERAL STEWART’S FROM THE BOER WAR. TAKE GOOD CARE OF THEM.’” “[MY BROTHER] USED TO WEAR THEM PLAYING IN BANDS WHEN HE WAS EIGHTEEN AND UP,” HINMAN CONTINUED, “[THEY WERE] PART OF HIS DRESS CODE… THEY’RE LOVELY BOOTS. THE STORY WAS THAT THEY WERE FROM THE BOER WAR, WHICH PUTS THEM OVER ONE HUNDRED YEARS OLD… [MY BROTHER] PROBABLY ACQUIRED [THESE BOOTS WHEN] MY GRANDFATHER PASSED AWAY IN 1968. MURRAY WOULD HAVE BEEN EIGHTEEN [THAT YEAR]. HE WAS IN HIS ELEMENT PLAYING WITH THE BANDS, EXPERIMENTING WITH ALL DIFFERENT KINDS OF MUSIC [AT THAT TIME]. I REMEMBER HIM LOOKING VERY COOL WEARING THEM. ALTHOUGH THESE ARE A VERY SMALL SIZE, RIGHT? SO I’M SURE THEY WERE A LITTLE PINCHEY.” “[MY BROTHER HAD] LONG HAIR – WELL EVERYBODY HAD LONG HAIR IN THE 60’S AND 70’S. [HE WAS] VERY COOL AND AT THAT POINT TOO MY DAD (BILL NELSON) HAD ACQUIRED A SMALL MGA, BURGUNDY-COLOURED, AND [MY BROTHER] USED TO BOMB AROUND AND GO TO BAND PRACTICE IN THAT. OH YEAH, HE WAS NOTORIOUS,” HINMAN LAUGHED, REMEMBERING. WHEN ASKED ABOUT HER BROTHER, HINMAN REPLIED, “MY BROTHER WAS BORN IN 1950. HE WAS JUST A LITTLE OVER SIXTY-FIVE WHEN HE PASSED AWAY. HE WAS AN ACTIVE MUSIC TEACHER AND LOCAL GUITAR TEACHER IN TOWN. YOU COULD SEE HIM BUSKING ON THE STREETS IN FRONT OF THE PENNY COFFEE HOUSE AND IN FRONT OF ESQUIRE’S COFFEE HOUSE. EVERYBODY KNEW HIM. HE USED TO BUSK AT THE FARMER’S MARKET ON FIFTH STREET ON FIRST FRIDAYS. HE PLAYED IN BANDS FOREVER.” “[HE WAS IN A] ROCK’N ROLL BAND. HE WAS IN SO MANY BANDS OVER THE YEARS AND I DON’T KNOW THE NAMES OF THE EARLY BANDS. ONE OF [THE BANDS HE PLAYED WITH] WAS KRANDEL’S KLOUD MACHINE, ONE OF THEM WAS THE SHAMAN, AND THEN HE MOVED TO VANCOUVER FOR A COUPLE OF YEARS AND PLAYED IN VANCOUVER – UP AND DOWN THE WEST COAST. WHEN HE CAME BACK FROM THE COAST, HE JUST PLAYED EVERYWHERE IN SOUTHERN ALBERTA WITH VARIOUS PEOPLE… ANYWAY HE WAS VERY WELL KNOWN IN THE BAND SCENE AND HE HAD A RECORDING STUDIO. THAT WAS A PASSION. HE CALLED HIS RECORDING STUDIO, AARDVARK RECORDINGS. HE HAD HIS FIRST RECORDING STUDIO IN THE BASEMENT OF KRUEGER’S MUSIC, WHERE HE TAUGHT MUSIC FOR BILL KRUEGER. THEN HE MOVED ALL HIS STUFF OVER AND HE WAS IN THE BASEMENT OF THE TRIANON FOR YEARS TEACHING RECORDING AND THEN HE GOT INVOLVED IN TECHNOLOGY, SO HE STARTED FIXING COMPUTERS AND DID COMPUTER PROGRAMMING. HE KIND OF USED TECHNOLOGY IN THE RECORDING STUDIO. HE HAD THIS HUGE SOUND BOARD WITH ALL THE SWITCHES AND WHATEVER AND HE HAD TONS OF LIKE STACKS OF MACHINES [FOR RECORDING],” HINMAN REMEMBERED. “[MY BROTHER] HAD A REPUTATION,” HINMAN WENT ON, “[PEOPLE WOULD SAY TO ME], ‘OH YOUR MURRAY’S SISTER.’ IT WAS GREAT AND ACTUALLY MY HUSBAND WAS BORN IN CARDSTON AND HE HAD A BAND THAT HE USED TO PLAY IN SOUTHERN ALBERTA WITH. WE HAVE AN ACTUAL RECORDING FROM THE BASEMENT RECORDING STUDIO AT KRUEGER’S, WHEN [MY BROTHER] RECORDED WITH MY HUSBAND’S BAND. IT WAS GREAT.” WHEN ASKED ABOUT THE MUSICAL INFLUENCE WITHIN HER FAMILY, HINMAN EXPLAINED, “MY MOM (MARGARET NELSON) WAS A LOCAL MUSIC TEACHER. SHE WAS A PIANO TEACHER. MY DAD’S MOTHER WAS KATE MARQUIS NELSON, WHO WAS A LOCAL PIANO TEACHER SO [WE HAD INFLUENCE] FROM BOTH ENDS. WE ALL GREW UP IN OUR HOUSEHOLD WITH MUSIC. I HAVE A DEGREE IN MUSIC AND I’M A MUSIC TEACHER AND MY YOUNGER BROTHER, MARK, PLAYS CLASSICAL GUITAR. WE HAD MUSIC EVERYWHERE. I HAVE SOME PICTURES AT HOME OF THE THREE KIDS WITH A DRUM SET AND I’M ON THE KEYBOARD AND MURRAY IS PLAYING GUITAR AND, EVEN A PICTURE OF MY MOM SITTING AT THE DRUMS TAKING PART IN THE MERRIMENT IN OUR BASEMENT.” “MY DAD PLAYED IN THE SYMPHONY. IN FACT, MY MOM AND DAD REVIVED THE SYMPHONY IN THE EARLY ‘60S. SO IT WAS JUST NATURAL FOR MURRAY TO [BE MUSICAL]. HE PLAYED EVERYTHING. HE PLAYED BANJO WITH MUSICAL THEATRE ONE YEAR, AND TAUGHT BANJO. HE THOUGHT THAT HE WAS THE ‘ONLY’ BANJO TEACHER IN LETHBRIDGE. HE [ALSO] THOUGHT THAT HE WAS THE ONLY REAL GOOD GUITARIST TEACHER IN LETHBRIDGE TOO,” HINMAN LAUGHED. “SO ANYWAY,” SHE CONTINUED, “IT WAS A STRUGGLE FINANCIALLY. MUSIC IS NOT AN EASY, AN EASY PROFESSION TO BE IN, A PERFORMING MUSICIAN. HE QUIT HIGH SCHOOL WHEN HE WAS PROBABLY SIXTEEN, BUT IN HIS MID TO LATE TWENTIES, HE FINISHED HIS DIPLOMA AND HE STARTED NURSING AT THE COLLEGE. HE DID PRETTY WELL [THERE], BUT HE DIDN’T DEAL WELL WITH AUTHORITY, SO HE DIDN’T FINISH IT. BUT [THROUGH THAT HE] GOT A LOT OF GOOD PRACTICAL KNOWLEDGE. [AFTERWARDS] PROCEEDED TO PURSUE HIS PASSION, WHICH WAS MUSIC. IN THE LAST FEW YEARS OF HIS LIFE HE FIXED THOSE COMPUTER SIGNS THAT SIT ON THE SIDE OF THE ROAD. HE WOULD FIX THE MOTHER BOARD… HE JUST DID WHAT HE WANTED. HE LIVED IS LIFE HIS WAY.” TO THE QUESTION OF WHY HER GRANDFATHER, GEORGE S. BROWN, RECEIVED THE BOOTS FROM GENERAL JOHN SMITH STEWART, HINMAN ANSWERED, “THE ONLY REASON I CAN THINK OF IS THAT BECAUSE THEY WERE GREAT FRIENDS… [IF GENERAL STEWART PASSED AWAY IN THE 1970S], THAT WOULD HAVE BEEN AFTER MY GRANDFATHER [DIED]. I KNOW THAT THEY WERE INVOLVED IN THE MILITARY STUFF LOCALLY. ELLA STEWART AND MY GRANDMOTHER WERE GREAT FRIENDS. SOMEHOW [THESE BOOTS WERE] JUST PASSED ALONG TO GRANDDAD.” “WHEN MURRAY WAS DIAGNOSED WITH THE CANCER IN JUNE OF 2015, I KNEW THAT THERE WAS SOME ITEMS THAT HE HAD THAT I NEEDED TO RETRIEVE BECAUSE THEY WERE FAMILY HISTORY,” HINMAN REMEMBERED, “[AMONG THOSE TREASURED THINGS WERE] GENERAL STEWART’S BOOTS, SO I RETRIEVED THEM IN JULY… [MURRAY SAID], ‘TAKE THEM. DO WHAT YOU NEED TO DO WITH THEM.’” “[ONE REASON MY BROTHER HELD ON TO THE BOOTS WAS] HE WAS VERY CLOSE TO MY GRANDPARENTS, BECAUSE HE USED TO SPEND A LOT OF TIME OUT AT THE FARM,” HINMAN EXPLAINED, “I THINK THAT HE JUST COULDN’T BRING HIMSELF TO PART WITH THEM, BECAUSE THEY WERE PART OF HIS FAMILY HISTORY. IT WAS A SPECIAL KIND OF THING BECAUSE GRANDDAD HAD ACTUALLY PASSED THEM TO HIM.” MURRAY NELSON’S OBITUARY WAS PUBLISHED ON THE MARTIN BROTHERS FUNERAL CHAPELS WEBSITE. IT STATES, “WILLIAM MURRAY NELSON, AGE 65, PASSED AWAY PEACEFULLY AT THE LETHBRIDGE REGIONAL HOSPITAL ON SUNDAY, NOVEMBER 29, 2015, AFTER A VALIANT BATTLE WITH CANCER. MUSICIAN, PERFORMER, TEACHER, MENTOR, SOUND GUY, RECORDING GUY, VIDEO GUY, COMPUTER GUY, SIGN GUY; HE WAS A MAN WHO LIVED LIFE HIS WAY, ON HIS TERMS, DOING WHAT HE LOVED.” AN ARTICLE PUBLISHED IN THE LETHBRIDGE HERALD ON DECEMBER 9, 2015, SHORTLY AFTER THE MUSICIAN’S DEATH STATES THAT AT A LOCAL MUSIC SHOW, PROMINENT LEHTBRIDGE SONGWRITER, LEEROY STAGGER, BEGAN THE SHOW WITH A TRIBUTE TO NELSON. TO FURTHER UNDERSCORE NELSON’S REPUTATION IN THE CITY, A DECEMBER 23, 2015 ARTICLE TITLED, “2015 WAS A MEMORABLE YEAR FOR CITY MUSIC SCENE,” WRITTEN FOR THE LETHBRIDGE HERALD BY RICHARD AMERY STATED, “LETHBRIDGE SAID GOODBYE TO MURRAY NELSON, WHO PASSED AWAY FROM CANCER THIS YEAR. NELSON WAS ONE OF THE SCENE’S MORE PROMINENT PERFORMERS ON STAGE PERFORMING SOLO AND WITH A VARIETY OF BANDS AS WELL AS BUSKING ON THE STREETS ALL OVER LETHBRIDGE…HIS MEMORY WILL LIVE ON IN THE STUDENTS HE TAUGHT AND THE SOULS HE TOUCHED ON STAGE OR JUST CHATTING AT VARIOUS WATER HOLES.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION AND THE COPIES OF LETHBRIDGE HERALD ARTICLES REFERENCED.
Catalogue Number
P20170010000
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Other Name
CROWSON CAMPAIGN SIGN
Material Type
Artifact
Materials
PLASTIC, INK
Catalogue Number
P20170033002
  1 image  
Material Type
Artifact
Other Name
CROWSON CAMPAIGN SIGN
Date
2017
Materials
PLASTIC, INK
No. Pieces
1
Length
61
Width
40.5
Description
PURPLE DOUBLE-SIDED SIGN PRINTED ON COROPLAST BOARD. SIGN HAS PURPLE PHOTOGRAPH OF BELINDA CROWSON BESIDE LARGE METAL WHEEL WITH THE LETHBRIDGE HIGH LEVEL BRIDGE AND WEST CITYSCAPE IN BACKGROUND; WHITE TEXT ON SIDE READS “BELINDA CROWSON FOR COUNCIL...BELINDA4COUNCIL@GMAIL.COM”. FRONT OF SIGN HAS TWO ROUND DENT ALONG LOWER EDGE FROM SIGN STAKES; BACK OF SIGN IS SCRATCHED ON UPPER AND LOWER LEFT EDGES. OVERALL VERY GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
POLITICS
History
ON NOVEMBER 16, 2017 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BELINDA CROWSON REGARDING HER DONATION OF A MUNICIPAL CAMPAIGN SIGN AND BLACKWORK EMBROIDERY PIECE. CROWSON WAS EMPLOYED WITH THE GALT MUSEUM AS THE MUSEUM EDUCATOR, WITH A REPUTATION AS A RENOWNED LOCAL HISTORIAN, UNTIL HER ELECTION TO CITY OF LETHBRIDGE COUNCIL IN 2017. THE CAMPAIGN SIGN WAS USED BY CROWSON DURING HER 2017 CAMPAIGN FOR CITY OF LETHBRIDGE COUNCIL. ON THE SIGN, CROWSON RECALLED, “I SAT DOWN WITH LISA LAMBERT, JENN SCHMIDT-REMPEL, AND BARB LACEY, A WHOLE BUNCH OF PEOPLE. I GOT ALL KINDS OF INFORMATION. I KNEW ANINE [VONKEMAN] WAS GOING TO BE MY DESIGNER, BECAUSE I COULDN’T THINK OF ANYBODY BETTER TO DO IT. THE DESIGN FOR THIS CAME ABOUT FROM A CONVERSATION WITH LISA AND ANINE, BECAUSE LISA SAID, “THERE’S TWO THINGS EVERYBODY KNOWS ABOUT YOU – YOUR FACE, AND YOUR FIRST NAME.” SHE SAID, “ASK ME TO COMMENT ON ANYTHING YOU DO.” I TYPED THAT TO ANINE, AND SHE SAID THAT’S WHAT SHE HAD IN MIND, TOO. I DON’T THINK THERE WAS ANY DOUBT IN ANYBODY’S MIND THAT IT WOULD BE PURPLE-–NOT NENSHI PURPLE—BELINDA WAS PURPLE BEFORE HE EVER WAS. I ASKED FRIENDS, AND TONYA PLONKA WAS SUGGESTED AS THE PHOTOGRAPHER, AND THEY SAID, “YOU HAVE TO BE BELINDA AT ‘THE GALT’, WITHOUT SAYING ‘THE GALT’.” WE DID THE PICTURES OUT WITH THE WHEELS [AT THE GALT MUSEUM], AND THE TRAIN BRIDGE IN THE BACKGROUND. I GOT MY HAIR DONE…THAT DAY, AND SENT IT OFF TO ANINE. THE DESIGN IS VERY MUCH ANINE’S. SHE HAD AN IMAGE IN HER HEAD, AND YOU HAVE TO HAVE A CELLPHONE NUMBER, AND YOUR E-MAIL ON. THEY DON’T HAVE TO BE THAT LARGE BUT, BY BYLAW, YOU HAVE TO HAVE THEM ON. THE REST IS DEPENDING ON WHAT YOU WANT. WHAT I LOVE ABOUT ANINE’S DESIGN IS [IT’S] EASY TO READ. THEY STOOD OUT AMONGST ALL THE OTHER SIGNS; THEY WERE A VERY DIFFERENT DESIGN THAN ALL [THE OTHERS]. I HAD 100 OF THESE MADE, AND 5 BIG SIGNS. BECAUSE OF THE FULL BLEED, MINE WERE MORE EXPENSIVE [ABOUT TWICE AS MUCH AS THE OTHER SIGNS], SO THEY ARE $10.00 A SIGN TO BUY. BASED ON THE BUDGET, WE ONLY GOT 100 OF THEM. WE HAD WAY LESS THAN OTHER PEOPLE BY NUMBER, BUT BECAUSE OF THE STAND-OUT I HAD PEOPLE TELLING ME THAT THEY THOUGHT WE HAD MORE THAN EVERYBODY ELSE. THE SIGN FOOLED YOU.” “IT TAKES A COMMUNITY TO RUN AN ELECTION. I COULD NEVER SAY ENOUGH ABOUT MY FAMILY AND FRIENDS IN THIS. I HAD THREE SIGN CREWS; TWO MORE WHO WANTED TO BE SIGN CREWS, BUT THEY ALL GOT THEM DONE SO FAST. PEOPLE SUBMITTED NAMES-–PEOPLE E-MAILED ME, AND GAVE ME ADDRESSES WHO WANTED THE SIGNS, AND THEN [THE SIGN CREWS] ALSO TOOK DIFFERENT PARTS. THEY JUST WENT OUT AND PUT THEM UP. THERE ARE LAWS ABOUT WHERE YOU CAN PUT THEM, AND THEN THEY ALL BABYSAT THEIR SIGNS. THEY WATCHED THEM THROUGHOUT, AND, UNKNOWN TO ME, EVEN MY MOTHER WAS DRIVING AROUND. IF A SIGN WAS DOWN, SHE’D CLEAN IT AND PUT IT BACK UP, BECAUSE SHE JUST COULDN’T STAND SEEING THEM [DOWN]. I KNEW FROM TALKING TO SHANNON PHILLIPS, AND A FEW OTHERS, THAT ‘SIGN MANAGEMENT’ IS MUCH BIGGER PART OF IT, AND I MUST ADMIT, EXCEPT FOR PICKING A FEW SIGNS UP AT THE END OF IT, I DID NOTHING WITH MY SIGNS, PERSONALLY. THE VOLUNTEERS DID IT ALL. THEY TOOK THAT TO HEART, AND THEY DID THE SIGN TEAMS.” “THE OTHER THING I HAPPENED TO LEARN FROM PEOPLE LIKE RYAN PARKER AND JEFF CARLSON IS GETTING PEOPLE WITH THE RIGHT ADDRESSES FOR YOUR BIG SIGNS. THEY HAVE THE ‘CORNERS’. I HAD SOME GOOD ONES-–I HAD ONE ON CROWSNEST TRAIL. THE MAYES GAVE ME ONE RIGHT AT 28TH AND CROWSNEST, AND I HAD ONE ON WHOOP-UP DRIVE, AND A FEW FRIENDS WHO OFFERED ONES UP. I HAVE LEARNED A LOT, IN THAT YOU REALLY HAVE TO MAKE FRIENDS WITH PEOPLE WITH THE BEST ‘CORNERS’. THEN SOME PEOPLE ARE LIKE, “ARE SIGNS EVEN WORTH IT? LIKE, ARE THEY ENVIRONMENTAL?” BUT, I WAS TOLD, YOU DO EVERY ONE OF THE THINGS. THE OTHER THING ABOUT SIGNS IS YOU USE THEM WHEN WE DID OUR WAVING CAMPAIGN. SO, MYSELF, I DID 9 HOURS OF WAVING, AND PEOPLE JOINED ME AT DIFFERENT ONES…EVERY DAY OF THE CAMPAIGN, JUST STANDING WITH A SIGN, SOMETIMES THE HUGE ONES, EIGHT OF US, SOMETIMES THE LITTLE ONES, AND WAVING FOR AN HOUR, AT DIFFERENT SPOTS AROUND TOWN. THE SIGNS WERE WONDERFUL FOR THAT, IN THAT, BEFORE THEY EVEN SAW US, THEY RECOGNIZED THE SIGN. I HAVE HAD SO MANY PEOPLE TALK ABOUT THE DESIGN OF THE SIGN, AND THAT’S ANINE. MY GIANT PURPLE FACE ALL OVER TOWN!” CROWSON ELABORATED ON HER DECISION TO RUN FOR CITY OF LETHBRIDGE COUNCIL IN 2017, NOTING, “I’VE BEEN THINKING ABOUT RUNNING FOR COUNCIL FOR THE LAST 2 YEARS. I NEED TO BE GOING TOWARDS SOMETHING, AS MUCH AS I’M LEAVING SOMETHING. I SAT AND TALKED WITH SEVERAL FRIENDS WELL OVER A YEAR AGO ABOUT, “DO YOU THINK I COULD DO IT? WHAT WOULD I HAVE TO DO?” I WENT…THROUGH CAMPAIGN STUFF…IT WAS A YEAR AND A HALF BEFORE, THAT I STARTED MAKING PLANS, THINKING, “HOW MUCH MONEY DO YOU NEED? WHAT DO YOU NEED TO DO?” MY ROAD TRIP LAST SEPTEMBER—WYOMING—PART OF THAT TRIP WAS PREPARING…IT WAS A LOT OF PLANNING IN ADVANCE. WHEN DO YOU START TELLING PEOPLE? HOW DO I START WINDING THINGS DOWN, WITHOUT INDICATING THAT I’M WINDING THINGS DOWN?” “TO ME, THE MAIN PURPOSE OF HISTORY IS A BETTER FUTURE. WE LOOK AT THE CONTEXT; WE LOOK AT THAT, SO WE CAN MAKE BETTER PLANS. AS I LOOK BACK, IT BECAME A NO-BRAINER. YOU CAN’T JUST SAY, “MAN, I WISH I HAD DONE THIS.” AT SOME POINT, YOU’VE GOT TO STEP UP AND GO, “THIS IS WHAT WE HAVE TO DO, AND I NEED BE AROUND THAT TABLE”. I’M ABSOLUTELY LOVING THE BIG DISCUSSION. LIKE ANY JOB, YOU CAN GET STUCK IN THE MINUTIA OF, “WHY ARE YOU SENDING ME AN E-MAIL ABOUT THIS?” THE HUGE DISCUSSIONS THAT WE CAN HAVE ABOUT, “ARE WE GOING TO DENSIFY, OR ARE WE GOING TO DO THIS?”…WHAT I ALSO LOVE IS, SOME OF THE CONVERSATIONS, I CAN GO BACK AND GET A 1910 NEWSPAPER, AND THEY ARE THE SAME THINGS. “HOW DO WE MAKE THIS BETTER? WHAT DO WE DO?” I’M ABSOLUTELY LOVING THE FACT THAT, AS ONE OF MY GRADE FIVE STUDENTS SAID, “NOW, YOU NO LONGER TELL HISTORY; YOU MAKE HISTORY.” IN SOME RESPECTS, THAT’S THE CHANGE, BUT IT’S ALL STILL PART OF IT. I HAD SOME WORRIES, BECAUSE I KNEW SOME PEOPLE I THOUGHT WERE GOING TO RUN, “I DON’T KNOW IF I COULD BEAT THOSE PEOPLE.” BUT, AT SOME POINT IN YOUR LIFE [YOU JUST SAY], “CRAP. I’M JUST GOING TO DO IT-–I’M JUST GOING TO THROW MY NAME IN.”” “[I WAS ELECTED] THE 16TH [FRIDAY]…MY LAST DAY AT WORK…[WAS] THE 20TH OF OCTOBER.” “IT WAS FUNNY, BECAUSE I COULD NOT MAKE ANY DECISIONS AFTER OCTOBER 16TH. I DID NOT KNOW WHICH WAY MY LIFE WOULD GO. TO BE HONEST THOUGH, “WOULD I HAVE COME BACK?” I PROBABLY WOULD NOT HAVE. I WAS SO PREPARED TO MOVE ON, IF I HADN’T GOTTEN ELECTED. I PROBABLY WOULD HAVE PUT MY RESIGNATION IN, ANYWAYS. I HAD A BACK-UP PLAN TO GETTING ON COUNCIL, BECAUSE WHAT I SAID I LOVED ABOUT COUNCIL IS I WANTED TO MOVE FORWARD. THIS IS WHAT I REALLY WANTED TO DO, BUT I ALSO REALIZED I REALLY WAS DONE HERE, AS WELL. IT WASN’T ABOUT QUITTING A JOB, ONLY. IT WAS ABOUT QUITTING A JOB, AND MOVING INTO SOMETHING ELSE. IF YOU’RE NOT SCARED A LITTLE BIT EVERY DAY, IT’S NOT FUN ANYMORE. I’M A SEAT-OF-THE-PANTS-–HAVE TO HAVE FUN—DOING THINGS [PERSON]. I WILL ALWAYS, SOMEHOW, BE TEACHING AND DOING STUFF WITH KIDS. THAT’S JUST PART OF WHO I AM, BUT I NEEDED TO HAVE OTHER THINGS JUST AS LARGE AS THAT IN MY LIFE.” “IT’S VERY WEIRD. I HAVE ALWAYS SEEN MYSELF AS A TEACHER, WORKING IN A MUSEUM. EVEN THOUGH I HAVE DONE HISTORIAN [WORK], I’M A TEACHER. TO GO INTO A POLITICAL WORLD IS QUITE A DIFFERENT THING, BUT SOMEBODY SAID TO ME THAT I’VE ACTUALLY SPENT 20 YEARS GETTING READY FOR IT. I’VE SAT ON A LOT OF COMMITTEES. I DID ALL THAT, AND ACTUALLY SOME OF THE GRADE FIVE KIDS WERE ASKING, “WE DIDN’T KNOW YOU WERE INTO POLITICS.” I SAID, “THAT WAS BECOMING A MUCH BIGGER PART OF MY LIFE THAT YOU GUYS DIDN’T SEE.” WHEN I LOOK BACK [I THINK], “OBVIOUSLY YOU WERE PLANNING FOR THAT, AND PREPPING FOR THAT.” “LEARNING [THIS PART OF MY LIFE] IS LIKE ANYTHING. ALWAYS DO YOUR HOMEWORK, AND BE PREPARED, AND THEN BE FLEXIBLE, BECAUSE IT’S NEVER GOING TO WORK OUT THE WAY YOU THINK, BUT THAT’S MY ENTIRE LIFE. IF I READ EVERYTHING IN ADVANCE, AND TRY TO BE AS MUCH OF AN EXPERT BEFORE I WALK INTO A ROOM, I’M HAPPY KNOWING THAT YOU ALSO CAN’T ALWAYS BE THE EXPERT. THAT’S THE THING WITH THE ELECTION AS WELL. THANK HEAVENS I HAD PEOPLE WHO KNEW A LOT MORE THAN I DID, ABOUT WHAT TO DO. THE OTHER THING THAT’S ‘TAKE AWAY’ IS PEOPLE WERE SO VERY GRACIOUS WITH THEIR TIME, AND THEIR EFFORT, AND THEIR ENERGY. IF YOU ASK FOR HELP, YOU’D BE AMAZED HOW MANY PEOPLE WILL DO IT, WHO WILL GIVE YOU AN HOUR, AN HOUR AND A HALF, AND SIT AND TALK TO YOU, AND SAY, “THIS IS WHAT I LEARNED. THIS IS WHAT I WOULD DO.” THOSE ARE THE PEOPLE I TRY TO EMULATE. TO PASS ALONG TO THE NEXT GENERATION, THE NEXT ONE, AND TO BE LIKE THAT BECAUSE I THINK PEOPLE THOUGHT WE WERE HILARIOUS. WE WERE THE FIRST ELECTION CAMPAIGN WHERE ALL THE CANDIDATES WHO WERE THERE GOT TOGETHER FOR A GROUP PHOTOGRAPH AT THE END. YOU CAN DEBATE IDEAS BUT STILL BE CIVIL. THE CAMPAIGN WAS FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170033001-GA.
Catalogue Number
P20170033002
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
WOMEN'S MARCH
Material Type
Artifact
Materials
FOAMCORE BOARD, MARKER
Catalogue Number
P20170015005
  1 image  
Material Type
Artifact
Other Name
WOMEN'S MARCH
Date
2017
Materials
FOAMCORE BOARD, MARKER
No. Pieces
1
Height
76
Length
51
Width
0.5
Description
WHITE FOAM CORE BOARD SIGN, 51 CM X 76 CM. RED-COLOURED FEMALE GENDER SYMBOL WITH RED-COLOURED HAND GRASPING BLACK AND WHITE FEATHER, DONE IN MARKER. SMALL BEND ON TOP RIGHT CORNER, DAMAGE ON BOTTOM LEFT CORNER; JAGGEDLY CUT EDGES. “© API’SOOMAAHKA 2017” ON BOTTOM LEFT CORNER.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
POLITICS
History
THE WOMEN’S MARCH LETHBRIDGE FIRST OCCURRED ON JANUARY 17, 2017. ORIGINATING IN THE UNITED STATES OF AMERICA FOLLOWING THE ELECTION OF PRESIDENT DONALD TRUMP, THE WOMEN’S MARCH WAS AN INTERNATIONAL MOVEMENT OF PROTESTS AND GATHERINGS IN SUPPORT OF WOMEN’S RIGHTS, HUMAN RIGHTS, LGBTQ+ RIGHTS AND STANDING AGAINST INTOLERANCE AND DISCRIMINATION. THE 2017 WOMEN’S MARCH IN LETHBRIDGE SAW A GATHERING OF 500-600 PARTICIPANTS ALONG MAYOR MAGRATH DRIVE SOUTH NEAR THE CORNER OF NINTH AVENUE. LORI BRAVE ROCK AND WILLIAM SINGER WERE A PART OF THE WOMEN’S MARCH STANDING FOR WOMEN’S AND INDIGENOUS RIGHTS. ON MARCH 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LORI BRAVE ROCK AND WILLIAM SINGER REGARDING THEIR DONATION AND PARTICIPATION IN THE LETHBRIDGE WOMEN’S MARCH. WHEN ASKED ABOUT THE DESIGN ON THE POSTER, BRAVE ROCK EXPLAINED, “THE HAND AND THE FEATHER WERE ACTUALLY A DESIGN THAT WE HAD BEEN UTILIZING FOR THE IDLE NO MORE MOVEMENT, FOR THE BLOOD TRIBE CHAPTER OF THE IDLE NO MORE MOVEMENT, SO FOR ALL OF OUR SIGNAGE, FOR ANYTHING THAT WE DID FOR THE IDLE NO MORE BLOOD TRIBE…THE ORIGINAL IDLE NO MORE IMAGE THAT HAD BEEN ADOPTED ACROSS CANADA HAD THE HAIDA ART…WE KIND OF WANTED SOMETHING THAT WAS A LITTLE BIT MORE ‘OURS’, AND REFLECTIVE OF US BEING A PLAINS TRIBE, AND THAT WAS THE DESIGN…WHEN WE WERE THINKING OF A POSTER TO BRING ALONG FOR THE DAY, I JUST THOUGHT THIS KIND OF ENCAPSULATED EVERYTHING THAT WE DID WITH IDLE NO MORE, AND JUST TIED IN WITH THE WOMEN’S SYMBOL. I’M NOT SURE WHAT YOU ACTUALLY CALL THAT SYMBOL, BUT, WITH THE WOMEN’S SYMBOL - PUTTING THE HAND AND FEATHER INSIDE OF THAT—AND JUST KIND OF TYING THOSE TWO THINGS TOGETHER FOR THIS. ONCE IT WAS DONE, WE DIDN’T EVEN NEED WORDS. IT REALLY KIND OF STRUCK PEOPLE THAT DAY. IT WAS SOMETHING THAT A LOT OF PEOPLE WERE STOPPING AND ASKING TO TAKE PICTURES OF IT. TO ME, WE COULDN’T FIGURE OUT ANY OTHER SIGN—IT WAS A LAST MINUTE THING. [WILLIAM] DID IT THE MORNING OF—AND IT REALLY KIND OF STRUCK A CHORD WITH PEOPLE…” “[THE HAIDA DESIGN] WAS MORE NATIONAL, AND I LOVE THE DESIGN AND EVERYTHING, BUT, WITH US BEING PLAINS…I DIDN’T REALLY FEEL THAT [THE NATIONAL DESIGN] REFLECTED OUR RESERVE, AND OUR INVOLVEMENT IN THE IDLE NO MORE MOVEMENT. WE JUST WANTED TO MAKE IT A LITTLE BIT MORE PERSONALIZED, AND IT WAS ACTUALLY ADOPTED BY THE PUBLIC SERVICE ALLIANCE OF CANADA FOR THE PRAIRIE REGION. THEY HAD ADOPTED THIS AS A BUTTON DESIGN, AND THEY HAD MADE A WHOLE BUNCH OF BUTTONS FOR EVERY PRAIRIE CHAPTER THAT THEY HAD…THAT DESIGN WAS ACTUALLY UTILIZED IN ALL OF THEIR PRAIRIE REGION OFFICES.” ON THE WOMEN’S MARCH, BRAVE ROCK ELABORATED, “FOR ME, AS A WOMAN, THERE IS NO OTHER PLACE I COULD THINK OF TO BE, ON THAT DAY THAT WAS MORE IMPORTANT. I WAS HAPPY TO SEE THAT THERE WERE OTHER FIRST NATIONS [PEOPLE] THERE…AS A FIRST NATIONS WOMAN, GROWING UP, MY MOTHER WAS IN A VERY ABUSIVE RELATIONSHIP. MY GRANDFATHER WENT THROUGH RESIDENTIAL SCHOOL, AND HE WAS VERY ABUSIVE TO MY GRANDMOTHER, AND MY MOTHER, GROWING UP, SO IT WAS A CYCLE. THE OLDER I GOT, I LEARNED THAT ALL OF THIS IS A CYCLE…BEFORE I WAS WITH WILLIAM, I WAS IN AN ABUSIVE RELATIONSHIP…LEARNING TO TRY TO BREAK THAT CYCLE…I THINK THAT’S WHY [WILLIAM AND I HAVE] BEEN TOGETHER AS LONG AS WE HAVE. WE’VE BEEN TOGETHER OVER 21 YEARS NOW, [AND IT’S] BECAUSE WE’RE LOOKING AT TRYING TO CHANGE THE NEGATIVITY THAT WE’VE GROWN UP IN. IT’S A WORK IN PROGRESS. IT’S ALWAYS GOING TO BE WORK TO DEAL WITH WHAT WE’VE GONE THROUGH.” “WHEN I WAS 19 YEARS OLD, MY BEST FRIEND WAS KILLED BY HER HUSBAND. HE SERVED APPROXIMATELY TWO YEARS IN JAIL BEFORE HE WAS FREED, AND HE IS FREE ON THE RESERVE, LIVING HIS LIFE, HAVING A FAMILY, ALL OF THAT, WHILE SHE’S BEEN DEAD AND GONE NOW OVER 20 YEARS…WITH THIS BEING THE WOMEN’S MARCH, FOR ME IT IS VERY PERSONAL. THESE ARE THE THINGS THAT DRIVE ME, BECAUSE [MY FRIEND IS] NOT HERE. SHE’S NOT HERE ANYMORE; MY UNCLE’S NOT HERE ANYMORE, AND FOR ALL OF THESE PEOPLE, I LOOK AT MY LIFE, AND I THINK IF I CAN DO SOMETHING TO HONOR THE LEGACY OF THEIR LIFE—THEM NOT BEING HERE ANYMORE, THESE ARE THE THINGS THAT REALLY DRIVE ME, ARE THE PEOPLE THAT ARE IN OUR COMMUNITY THAT ARE SUFFERING THE MOST.” “WITH LOSING [MY FRIEND] ANGIE WHEN I WAS 19, THE WHOLE THING WITH TRUMP THAT SPARKED THE WHOLE WOMEN’S MARCH, THE WOMEN’S MOVEMENT…WHEN I LOOK AT THINGS LIKE THIS, I THINK WOMEN HAVE HAD A LOT OF CHALLENGES THAT THEY HAVE FACED OVER THE YEARS, JUST TO GET TO BE ON THE SAME LEVEL [AS MEN]. WE WERE JUST LISTENING TO THE CBC AND THEY WERE SAYING CANADA GOT SUCH A POOR GRADE RECENTLY…BECAUSE THERE’S NOT ENOUGH WOMEN IN HIGH POSITIONS IN COMPANIES. THE WOMEN ARE STILL GETTING VERY MUCH UNDER-PAID THAN MEN, AND WHENEVER I LOOK AT THESE ISSUES, I THINK ‘YEAH—AND IF SHE IS INDIGENOUS, THAT MEANS [SHE’S PAID] EVEN LESS.’ IN ALL OF THESE INSTANCES, I THINK, IF SHE IS INDIGENOUS, I THINK SHE IS EVEN CONSIDERED LESS WORTH THAN SOMEONE WHO IS NON-INDIGENOUS. THE WHOLE MURDERED AND MISSING INDIGENOUS WOMEN ISSUE, AGAIN, HAVING BEEN TOUCHED PERSONALLY BY THAT—HAVING THAT FEAR OF LOSING ANYONE ELSE TO THAT—IT’S VERY MUCH ALIVE IN ME. BECAUSE I’VE ALREADY GONE THROUGH IT, I JUST CAN’T STAND TO SEE SOMEONE ELSE TO LOSE SOMEONE ELSE LIKE THIS…I THINK EVEN SHANNAN [LITTLE] HAD COME ACROSS AND SAID, ‘IT’S REALLY IMPORTANT…TO HAVE YOU GUYS THERE.’ AND I SAID, ‘FOR SURE. WE’RE ON BOARD. WE’RE THERE. WE CAN’T KNIT OR DO THOSE HATS, BUT FOR SURE, WE’RE THERE, WE’RE SUPPORTING YOU.’” “TO ME [WOMEN’S RIGHTS ARE] AN ISSUE. IT’S VERY, VERY PERSONAL TO ME…BY THE TIME I WAS A TEENAGER, MY UNCLE WAS GONE, MY GRANDPA WASN’T A PART OF MY LIFE, MY STEP-DAD WAS SO ABUSIVE, WE DIDN’T SPEND AS MUCH TIME WITH HIM…I FEEL LIKE I GREW UP OUT OF A FAMILY OF WOMEN, AND PEOPLE TELL ME ALL THE TIME, ‘YOU’RE SO STRONG.’ IF YOU KNEW MY GRANDMOTHER—TO HAVE GONE THROUGH WHAT SHE HAS GONE THROUGH, TO LOSE HER HOME, TO HAVE KEPT US ALL TOGETHER…TO WHERE SHE NOW HAS ANOTHER HOME HERE ON THE RESERVE, TO HAVE ACCOMPLISHED WHAT SHE HAS DONE. MY MOM…I LOOK AT HER SOMETIMES, AND, ‘YOU’RE THIS OLD, AND YOU ARE STILL IN THAT STRUGGLE, AND YOU’RE STILL TRYING. AND I’M TRYING TO HELP YOU.’ ALL OF US ARE TRYING TO DO WHAT WE CAN TO HELP HER, SO, TO ME, THERE’S STILL SO MANY ISSUES FOR WOMEN, AND TO BE INDIGENOUS IS JUST ANOTHER STRIKE AGAINST THEM. IT’S SO IMPORTANT, I THINK, FOR US TO SEE HOW IMPORTANT OUR WOMEN REALLY ARE TO US, AND WHAT THEY MEAN TO US. THEY ARE OUR FUTURE. THEY ARE THE ONES THAT ARE BRINGING OUR FUTURE TO US…I STILL FEEL STRONGLY ABOUT IT—I’M ON BOARD FOR ANY OTHER ACTIVITIES THEY HAVE PLANNED. I’M VERY MUCH ON BOARD FOR THEM—PROBABLY BOTH OF US, NOW THAT [WILLIAM] HAS A GRANDDAUGHTER. WE WANT TO SEE THINGS CHANGE. WE’RE NOT THE DECISION MAKERS, BUT, AT LEAST, IF WE ARE SOME KIND OF INFLUENCE, AT LEAST, IF WE’RE SOME KIND OF INSPIRATION TO ANYBODY, GOING FORWARD, THEN WE DID OUR JOB.” SINGER NOTED, “THE REASON BEING, IT IS PART OF OUR WORK, AND TO SUPPORT MY WIFE, AND EVERYONE THAT’S THERE. FOR MYSELF, AT LEAST ONE OF MY GOALS IS TO MAKE SURE EVERYONE IS SAFE, SO I’M THERE LOOKING AT IT, MAKING SURE NOTHING GOES WRONG, AND IF ANYTHING IS GOING TO HAPPEN, TO ACT. I ALWAYS RECRUIT OTHER MEN BEHIND THE SCENES TO BE SECURITY, SO I’M ALWAYS AT THE READY TO MAKE SURE EVERYBODY IS SAFE…IT’S IMPORTANT [TO BE AT THE MARCH]. WE WORK TOGETHER, AND IN THE BLACKFOOT WORLD, WE WORK TOGETHER AS WELL. COUNCIL HELPS THE WOMEN; WOMEN HELP THE MEN. ANYTIME THERE’S ANY TYPE OF CONFRONTATION, THE MEN ARE THERE TO TAKE CARE OF THE WOMEN AND CHILDREN, AND THE MEN, AS WARRIORS, THEIR MAIN JOB, FOR THEIR EXISTENCE, IS TO TAKE CARE OF THE LAND, AND THE PEOPLE. WELL, THAT’S THE WARRIOR, THAT’S THE ETHIC, SO I GO BY THAT. I WANT TO MAKE SURE NO ONE GETS HURT. THERE’S MYSELF, AND OTHERS ARE, AS WELL.” ON HER ACTIVISM WITHIN HER COMMUNITY, BRAVE ROCK RECALLED, “WE HAD FORMED COMMUNITIES IN UNITY…WITH OUR TRIBE BEING IN CLOSE PROXIMITY TO THE TOWNS OF CARDSTON…AND FORT MACLEOD, AND THEN LETHBRIDGE…WE WERE ALWAYS HAVING INCIDENCES OF RACISM. A GOOD EXAMPLE IS THE BIG FIRE THAT WE HAD, THAT STARTED ON THE RESERVE, AND IT CAME INTO THE LETHBRIDGE COUNTY, AND IT HAD CAUSED QUITE A BIT OF DAMAGE. THERE WAS A LOT OF BACKLASH AT COMMUNITY MEMBERS JUST FOR THAT. COMMUNITIES IN UNITY CAME ABOUT FROM AN ATTACK BY A TRIBAL MEMBER, ON A NON-NATIVE COMMUNITY MEMBER OF LETHBRIDGE. WHEN THIS ATTACK HAPPENED, RIGHT AWAY, AGAIN, THE BACKLASH STARTED WITH OUR COMMUNITY MEMBERS BEING TARGETED, AND WE SAW THIS AS AN OPPORTUNITY, TO BASICALLY TRY TO BRIDGE THE COMMUNITIES, AND FIND A WAY FOR COMMUNITY MEMBERS, FROM BOTH THE RESERVE, AND FROM LETHBRIDGE, TO WORK TOGETHER—TO TRY TO HAVE EVENTS THAT WERE INCLUSIVE, AND INVITING TO EVERYBODY, AND THAT’S WHERE THE COMMUNITIES IN UNITY IMAGE CAME ABOUT, AND, AGAIN, I THINK WE JUST DESIGNED THAT AT THE MEETING THAT WE HAD. WE HAD OUR ROUND DANCE EVENT, AND WE HAD DESIGNED THAT AT THE MOMENT THAT WE ALL HAD SAT TOGETHER, AND WE ALL CONTRIBUTED TO IT, AND PLANNED FOR THAT. SO WE ARE STILL DOING THINGS UNDER COMMUNITIES IN UNITY, AND THE IDLE NO MORE MOVEMENT, SO WHENEVER THERE IS AN ISSUE, WE ARE PRETTY MUCH INVOLVED WITH IT, BECAUSE ONE WAY OR ANOTHER, OUR TRIBAL MEMBERS ARE MOST LIKELY BEING AFFECTED BY THE ISSUE...” “THE THING THAT REALLY DRIVES US SOMETIMES IS THAT—THIS IS OUR LAND! THIS IS OUR HOME! IT HAS ALWAYS BEEN…WE ARE ONE OF THE TRIBES THAT WERE NEVER MOVED. WE WERE ONE OF THE TRIBES WHO HUNG ONTO OUR SUN DANCE, AND IT’S IN THAT SPIRIT THAT…WE NEED TO REMIND OUR PEOPLE WHO WE REALLY ARE, WHAT WE CAME FROM, AND THAT THE WAY THINGS ARE TODAY IS NOT THE WAY THAT IT’S SUPPOSED TO BE…WE HAVE THIS THING IN OUR CULTURE, OUR WAY OF LIFE, WHERE EVEN THE WHOLE SUN DANCE…IS TO HELP PEOPLE. OUR WHOLE CULTURE, WHEN WE PRAY, IT’S TO HELP PEOPLE. AND IN ALL OF THESE SITUATIONS, THAT’S WHAT BRINGS ME BACK TO IT…WHEN SOMEONE IS BEING RACIST…IT’S ALMOST THE SAME THING AS IN THE BIBLE. YOU TURN THE OTHER CHEEK. BUT FOR US, ALL WE CAN DO IS PRAY FOR THAT PERSON. AND PRAY THAT THEY WILL FIND THE KNOWLEDGE AND THEY WILL FIND A WAY TO COME TO THIS PLACE WHERE THEY ARE NOT IN THAT FRAME OF MIND ANYMORE. FOR US, I THINK THAT’S ANOTHER THING THAT WE REALLY TAKE TO HEART IS THAT OUR CULTURE HAS ALWAYS TAUGHT US TO HELP PEOPLE…WHAT I AM TRYING TO REMIND PEOPLE IS THAT IT’S NOT THAT WE WERE STUPID, OR WE DIDN’T UNDERSTAND…OUR WHOLE CULTURE IS BASED ON THE FACT THAT WE ARE HERE TO HELP PEOPLE…I COULD FOCUS ON ALL OF THE NEGATIVITY, AND I SEE WHAT THAT DOES TO PEOPLE, AND I SEE HOW HARD IT IS…WE HAVE OUR MOMENTS WHEN THINGS ARE VERY DARK, BUT WHEN WE LOOK AT THIS KIND OF WORK, WE FOCUS MORE ON WHAT HAS TO BE DONE, AND WHAT COULD BE DONE, AS OPPOSED TO WHAT’S NOT HAPPENING.” “RIGHT NOW, THE WHOLE THING WITH CARDSTON, I JUST HAD A DISCUSSION WITH ONE OF THE LADIES THAT WAS SUPPORTING OUR ACTIONS, AND SHE WAS SAYING, ‘WELL, WHAT’S GOING TO HAPPEN NOW?’ AND, I TOLD HER, ‘WELL, AT THIS POINT, THE REASON WHY WE WERE DOING WHAT WE WERE DOING WAS BECAUSE NOBODY WAS DOING ANYTHING ABOUT IT,’ AND I’VE BEEN INVOLVED WITH THE ISSUE OF RACISM FOR SUCH A LONG TIME NOW…I WANTED TO GET IT OUT THERE. I WANTED PEOPLE TO START TALKING ABOUT IT…EVERY TIME THESE THINGS HAPPEN, WE PUT OUT A MESSAGE, BUT IF WE’RE NOT ACTUALLY SHOWING THAT WE CAN COME TOGETHER AS A COMMUNITY, I DON’T THINK THE MESSAGE IS REALLY GETTING OUT THERE…MY HOPE IS THAT THINGS GROW FROM THIS…WHEN [IDLE NO MORE] CAME ABOUT, WE LOOKED AT HOW WE COULD LEARN WAYS THAT WE COULD TAKE ACTION…A LOT OF THE NEGATIVITY AND THE BAD THINGS THAT HAPPEN, WE ACKNOWLEDGE IT, AND WE KNOW IT’S GOING TO HAPPEN AGAIN. WE KNOW THERE WILL BE MORE INCIDENCES, BUT I LOOK AT EVERYTHING NOW AS AN OPPORTUNITY, TO LEARN FROM THEM…THAT’S WHY WE’VE BEEN SO ACTIVE, BECAUSE WE KNOW WE ARE PROBABLY THE ONLY TWO THAT ARE REALLY WILLING TO JUST GET UP AND ACT ON THESE THINGS, AND AGAIN, WE THINK ABOUT THE FUTURE GENERATIONS…WE WANT TO SEE THINGS CHANGE. WE DON’T WANT TO SEE WHAT WE WENT THROUGH TO BE REPEATED. WE WANT TO LEARN FROM WHAT WE HAVE EXPERIENCED, AND GO FORWARD IN A POSITIVE WAY, AND REALLY THIS KIND OF WORK IS THE ONLY THING THAT WE SEE RIGHT NOW TO BE ABLE TO DO THAT IN A POSITIVE MANNER.” “[WILLIAM AND I] WERE BOTH IN RESIDENTIAL SCHOOL. I WAS IN THE LATER YEARS, WHERE OUR TRIBE HAD BEEN RUNNING THEM, BUT WHEN HE WAS THERE—MY MOM WAS THERE—THEY WERE STILL UNDER THE NUNS, AND THE PRIESTS…WE BOTH KNOW WHAT THE EFFECT [IS]…THE EFFECT THAT IT’S STILL HAVING ON OUR FAMILY TODAY. WE ALSO COME FROM VERY POOR BACKGROUNDS. WE DON’T COME FROM MONEY. WE DON’T COME FROM FAMILIES THAT HAD PROMINENCE…WE GREW UP IN THE MOSES LAKE COMMUNITY WHICH HAS A LOT OF SOCIAL ISSUES. WE KNOW PERSONALLY WHAT IT IS LIKE TO HAVE THE OVER-CROWDING—THE LACK OF WATER…THROUGHOUT OUR LIVES, THOUGH, EDUCATION WAS VERY IMPORTANT. I DID EVERYTHING…I DIDN’T GRADUATE HERE IN CANADA—I ACTUALLY ENDED UP GOING TO A JOB CORPS CENTER IN THE UNITED STATES. WHEN I WENT THERE, I THINK THE RACISM WAS SO BAD IN CARDSTON, I TRULY BELIEVED THAT I WAS INCAPABLE OF LEARNING. I TRULY BELIEVED THAT I WAS STUPID—THAT I WOULD NEVER LEARN MATH…BUT WHEN I WENT TO THIS JOB CORPS—IT WAS AN ALL-NATIVE JOB CORPS…ALL OF THE STUDENTS THERE WOULD COME FROM ALL OF THE STATES IN THE U.S. ALL OF THESE TRIBES, AND THEY WENT TO THIS ONE JOB CORE CENTER OUTSIDE OF RONAN, MONTANA. IT WAS CALLED KICKING HORSE JOB CORPS CENTER…IT WAS ON THE FLATHEAD RESERVATION, SO THEIR KEY GOAL WAS THAT THEY WANTED THE MAJORITY OF PEOPLE WORKING THERE TO BE FROM THAT TRIBE. WE HAD PEOPLE THAT WERE NATIVES THAT WERE TEACHING US ALL OF THE COURSES…I EXCELLED WHEN I GOT THERE…SO ONCE I LEFT THAT PLACE, I CAME TO THE REALIZATION THAT I WASN’T STUPID, THAT I COULD DO SOMETHING WITH MY LIFE, THAT I WASN’T GOING TO BE STUCK IN THIS RUT…I THINK WE LOOK NOW AT THE STATE OF THINGS, AND WE ARE LIKE—THIS IS THE TIME THAT THINGS NEED TO START CHANGING. WE SEE THAT A LOT OF THESE ISSUES AND HOW THEY’VE HURT [OUR COMMUNITIES]…[WE SEE] THE PEOPLE THAT ARE SUFFERING THE MOST IN OUR COMMUNITY—THAT, SO EASILY COULD HAVE BEEN US…A LOT OF MY RELATIVES I EVEN FEEL FOR, BECAUSE I WAS ABLE TO ESCAPE THAT LIFE, WHEN WE WERE KIDS, AND WHAT WE WERE GOING THROUGH, AND I KNOW THAT NOT EVEN SOME OF MY RELATIVES HAVE ESCAPED THAT, SO FOR US, A LOT OF THESE ISSUES ARE VERY, VERY PERSONAL.” “WE ARE ABLE TO USE OUR TALENTS, AND I KNOW THAT NOT EVERYBODY IS GIFTED WITH SUCH TALENTS. WE ARE BOTH ARTISTS, AND I HAVE ALWAYS LOOKED AT IT AS A BLESSING. MY MOM HAS ALWAYS BEEN AN ARTIST, EVEN THOUGH SHE’S STRUGGLED A LOT IN HER LIFE, AND SHE’S STILL STRUGGLING…I THINK IT’S EASY FOR A LOT OF PEOPLE TO DRIVE BY THE RESERVE AND NOT UNDERSTAND WHAT’S REALLY HAPPENING THERE, BUT WE LIVE THERE…WE EVEN HAD A DISCUSSION WITH A GUY WHO JUST COULDN’T BELIEVE WHY WE WOULD EVER WANT TO MOVE BACK TO THE RESERVE, BUT THE WAY I SEE IT IS THAT, FOR THOSE OF US WHO HAVE AN EDUCATION, WE ARE LOSING OUR MOST IMPORTANT RESOURCE, WHICH IS OUR PEOPLE IF WE ARE EDUCATING THEM—SENDING THEM OFF THE RESERVE TO GET EDUCATED, BUT THEN WE ALSO HAVE TO SEND THEM OFF THE RESERVE TO FIND EMPLOYMENT. IF WE CAN’T BE BRINGING THOSE PEOPLE BACK, WE ARE NOT GOING TO BE CHANGING OUR SITUATION AT ALL, AND THIS IS ONE OF THE REASONS WHY WE WANTED TO MOVE BACK HOME, AND TRY TO MAKE THESE CHANGES. OUR BIGGEST THING IS EDUCATION AND AWARENESS—NO MATTER WHAT IT IS THAT WE ARE TRYING TO DO, AND WHY WE ARE REALLY OUT THERE IS, BECAUSE, IF PEOPLE ARE TALKING ABOUT THIS, THEN WE HAVE ACCOMPLISHED OUR GOAL. BUT, GOING BACK TO WHAT DRIVES US, IT IS REALLY…OUR PEOPLE; IT IS THE PEOPLE THAT ARE HERE, AND THE PEOPLE THAT WE HAVE ALREADY LOST, THAT REALLY KEEPS US GOING, AND THAT REALLY DO DRIVE US.” “I BELIEVE [ALLIES ARE PART OF THE SUCCESS]. BEING ABLE TO HAVE THAT IMAGE OF US, NOT ONLY ATTENDING THESE EVENTS TOGETHER, BUT PLANNING THEM TOGETHER, WORKING TOGETHER ON THAT SAME GOAL, WE’VE JUST BECOME FRIENDS WITH SHANNAN [LITTLE], AND HER HUSBAND, DAVE, OVER THE YEARS…FOR US, HAVING THOSE ALLIES, IT REALLY…I FEEL THAT IT GIVES US THIS BOOST [TOO]…THESE GUYS REALLY SUPPORT ALL OF OUR ACTIONS. WE VOLUNTEER, AND I THINK THE BEST PRICE THAT WE GET PAID IS THAT PEOPLE SHOW UP, AND THEY SUPPORT US, AND SHANNAN HAS BEEN A GREAT SOURCE OF SUPPORT…WE ARE ALSO INVOLVED IN ENVIRONMENTAL ISSUES. I THINK THAT’S WHERE I—EVEN AS A TEENAGER—WAS ALWAYS INVOLVED IN THAT AND COMPELLED BY WHAT WAS HAPPENING ENVIRONMENTALLY, JUST BY SEEING WHAT WAS HAPPENING ON THE RESERVE. WHEN I GREW UP WE HAD A LAKE, DOWN IN THE COULEE. WE DID ALL OUR FISHING/SWIMMING/BOATING/ EVERYTHING THERE, AND THAT WATER ISN’T EVEN THERE ANYMORE. I’M TELLING MY MOM, I’M REALLY TRYING TO PREPARE MYSELF FOR THE DAY WHEN I’M NOT GOING TO SEE ANY WATER COMING THROUGH THIS PLACE ANYMORE, AND IT’S GOING TO BE REALLY HARD, BUT I’M TRYING TO PREPARE MYSELF FOR THAT, SO WE HAVE OTHER ALLIES ON THAT FRONT. NOW WE’RE SEEING OUR ALLIES COMING FROM DIFFERENT AREAS, WHENEVER WE COME TO THESE ISSUES, AND TO ME IT’S, EVEN THOUGH WE HAVEN’T KNOWN THEM FOR VERY LONG, I JUST FEEL AT HOME WHEN I’M AROUND THEM, BECAUSE TO KNOW THAT THEY CARE AS MUCH AS WE DO ABOUT THESE THINGS REALLY, REALLY INSPIRES US. I DON’T HAVE TO WORRY ABOUT AN EVENT, SHANNAN OR SOMEBODY WILL BE THERE, AND I DON’T HAVE TO WORRY ABOUT IS SOMEBODY GOING TO SHOW UP, OR IS ANYBODY GOING TO SHOW UP. THAT’S HOW THEY HAVE BEEN SUPPORTING US OVER THIS TIME…WE HAVE OUR ALLIES, BUT WE ALSO HAVE OUR OTHER COMMUNITY MEMBERS. I UNDERSTAND WE HAVE A LOT OF SUPPORTERS FROM THE TRIBE, WHO COME UP TO US, AND THEY TALK TO US AND SAY, ‘GEEZ, IF I WASN’T DEALING WITH THIS, I WOULD HAVE BEEN THERE.’...A LOT OF TIMES I TELL PEOPLE ‘I KNOW.’” “I THINK WE HAVE BEEN AFFECTED BY LITERALLY EVERY ISSUE THAT FACES INDIGENOUS PEOPLE…ONE YEAR, I LOST 4 PEOPLE THAT HAD COMMITTED SUICIDE, AND I KNEW ALL OF THEM. TWO OF THEM WERE [WILLIAM’S] FIRST [COUSINS], MY SECOND COUSIN, WITHIN MONTHS OF EACH OTHER. AND, MY FRIEND, ANOTHER FOUR MONTHS AFTER THAT. THEN, ANOTHER FRIEND, ANOTHER FOUR MONTHS AFTER THAT. IN ONE YEAR, I HAD LOST FOUR PEOPLE TO SUICIDE, SO I TELL PEOPLE, THE REASON WHY WE’RE OUT HERE DOING THIS…IT’S BECAUSE WE KNOW OUR PEOPLE ARE SO BUSY…OUR PEOPLE HAVE TO WORK SO MUCH HARDER JUST TO MAKE ENDS MEET—JUST TO GET TO [THEIR] GOALS…I UNDERSTAND THAT, IF WE CAN BE HERE…BUT WE KNOW YOU’RE SUPPORTING US—IF YOU EVEN WANT TO HELP US OUT WITH A DONATION—THESE ARE THE KIND OF THINGS THAT JUST KEEP US GOING. TO HAVE OUR ALLIES, IT REALLY, REALLY HELPS. IT REALLY GIVES US THAT BOOST.” “IT WAS SURPRISING TO ME THAT WE WERE ACTUALLY GETTING CARDSTON COMMUNITY MEMBERS [AT THE PROTESTS], BECAUSE IT WAS OPEN TO EVERYBODY, BUT I WAS REALLY SURPRISED THEY ACTUALLY SHOWED UP…THE MAYOR CAME TO BOTH OF THE EVENTS, SO I WAS REALLY SURPRISED…THERE ARE GOING TO BE SOME VERY OPEN-MINDED PEOPLE [IN LETHBRIDGE], BUT CARDSTON, IT WAS REALLY SURPRISING. IT’S BEEN A PLEASANT SURPRISE, IN THE END, THAT WE’VE HAD SOME POSITIVE REACTION COME OUT OF THAT TOWN. SOMETIMES PEOPLE ASK ME ‘HOW DID IT GO?’ LIKE I SAID, IT WAS A SUCCESS IF ONE PERSON SHOWED UP. I’M JUST BLOWN AWAY IF MORE THAN FIVE PEOPLE SHOW UP.” SINGER SHARED, “FOR ME, [MY ACTIVISM] STARTED EARLY. I WAS A PART OF AN EXPERIMENT WHERE THEY HAD RESERVE CHILDREN THAT WERE LIVING IN RESIDENTIAL SCHOOLS, OR GO TO SCHOOL ON THE RESERVE. THEY WERE FORCED TO GO TO AN OFF-RESERVE SCHOOL. I WAS PART OF THAT GROUP, SO I STARTED OUT AT ST. PAUL’S RESIDENTIAL SCHOOL, AND THEN I WAS MOVED TO CARDSTON ELEMENTARY…FROM GRADE TWO ON, UNTIL I WENT INTO GRADE SEVEN IN CARDSTON, LIFE WAS PRETTY TOUGH, BECAUSE THAT WAS THE FIRST TIME A LOT OF US SEE NON-NATIVE KIDS…THEY CALLED US ALL KINDS OF NAMES—THAT STARTED FROM GRADE TWO ‘TIL GRADE SEVEN—AND THE THING THAT REALLY USED TO BOTHER ME A LOT WAS THAT THE TEACHERS WOULD SEE THAT AND THEY WOULDN’T DO ANYTHING TO THE NON-NATIVE KIDS, BUT YOU WOULD GET PUNISHED ANYWAY, EVEN THOUGH YOU DID NOTHING. IN GRADE SEVEN, I THOUGHT IT WOULD BE DIFFERENT, BEING IN A HIGH SCHOOL, BUT IT WASN’T. THIS TIME IT WASN’T STUDENTS. THIS TIME AROUND, IT WAS TEACHERS. I WAS SYSTEMATICALLY PICKED ON BY TWO TEACHERS IN CARDSTON, AND THAT’S WHEN I DECIDED ‘I’M TIRED OF THIS. TIRED OF GOING TO SCHOOL. LOOK WHAT IT’S DOING TO MYSELF. I CAN’T BE AROUND THESE PEOPLE.’ IT STARTED MAKING ME MORE NOT WANTING TO BE A PART OF THIS WORLD…I WAS SENT TO ST. MARY’S RESIDENTIAL SCHOOL. I FINISHED MY GRADE SEVEN THERE. I WENT BACK TO CARDSTON TO GIVE IT A CHANCE, AND IT WAS STILL THE SAME. SO, I STUCK IT OUT A YEAR, AND GRADE NINE, I WENT BACK AND I GRADUATED. FROM GRADE NINE, WHEN I WAS OUT AT ST. MARY’S, UNTIL I GRADUATED, I FELT A LOT BETTER BEING AROUND MY OWN PEOPLE…IT OPENED UP A LOT MORE AREAS WHERE—THINGS THAT I NEED TO KNOW—THE REQUIRED KNOWLEDGE—WAS THERE. IT WASN’T [THERE] IN CARDSTON.” “[THE SCHOOLS] DIDN’T TEACH YOU ABOUT ANYTHING. IF YOU WANTED TO KNOW ANYTHING ABOUT YOUR HISTORY, YOU’D HAVE TO TELL YOUR GRANDMOTHER OR GRANDFATHER…AT ST. MARY’S ON THE RESERVE, IT WAS ALL BLOODS THERE. I GOT ALONG WITH THEM, AND THAT’S WHEN I STARTED REALIZING, AT THAT TIME, HOW DIFFERENT THINGS ARE, AND HOW THINGS HAVEN’T REALLY CHANGED, FROM THE TIME THAT WE MADE OUR WAY INTO THIS NEW WAY OF LIFE. SO FROM THERE, I DECIDED TO START [TRYING] TO DO SOMETHING ABOUT IT—TRY TO GET OTHERS INVOLVED. IT WAS AROUND THAT TIME I MET [LORI’S] GRANDFATHER. HE STARTED TALKING ABOUT THE AMERICAN INDIAN MOVEMENT, AND I STARTED ASKING HIM, ‘WELL, WHAT’S IT ABOUT?’…ANOTHER GUY, TOO, HE WAS ALL ABOUT THE AMERICAN INDIAN MOVEMENT. HE HAD AN OVER-ALL JACKET, HE HAD PATCHES, HE WAS JUST ‘EVERYTHING’. SO, I ASKED HIM, AND HE TOLD ME THE EXACT SAME THING. A LOT OF PEOPLE WOULD REALLY MAKE FUN OF HIM, SO, FOR ME, I DECIDED THAT THAT’S WHAT I WANTED TO DO, SO EVENTUALLY I ENDED UP HAVING TO BE A PART OF A GROUP ON THE RESERVE, CALLED THE KAINAI YOUTH SOCIETY. THEY WERE THE ONES THAT PUT UP THE MAJOR BLOCKADES IN THE ‘80S…I STARTED DOING THAT [ACTIVISM] WORK, AND I KNEW THAT THAT WASN’T JUST THE ONLY ISSUE THERE. THERE WAS A LOT MORE THAN LAND CLAIMS. THERE WAS THE RACISM ISSUE, THAT SORT OF WENT HAND-IN-HAND…FOR MYSELF, I’M IN THIS 100%. EVEN IF THERE’S A SMALL CROWD, STILL THOSE PEOPLE SHOWED UP—THEY MADE THAT EFFORT. LIKE I ALWAYS TELL LORI, IT’S ALWAYS US TWO, IT’S STRANGE…BUT SOMEONE’S GOT TO DO IT. I’VE SPOKE TO ONE OF THE OLDER FELLOWS THAT USED TO DO THIS TYPE OF WORK, LAST WEEK, AND WE’RE JUST CARRYING ON THE WORK THAT HE DID, SO, IT’S IMPORTANT TO STAND UP, TO QUESTION, AND JUST TO KNOW WHAT’S GOING ON, KNOW WHAT IN YOUR WORLD IS GOING ON. THAT’S WHY WE REALLY DO EVERY EFFORT TO EDUCATE NATIVE AND NON-NATIVE PEOPLE. FOR OURSELVES, THAT’S WHAT IT IS—IT’S EDUCATION. WE’VE GOT TO THE POINT WHERE WE HAVE A PACKAGE THAT WE GIVE OUT…IT’S ALL ABOUT EDUCATING PEOPLE ABOUT BLACKFOOT HISTORY, BECAUSE THE INFORMATION THAT IS OUT THERE IS NOT ACCURATE, AND A LOT OF TIMES IT’S NOT FROM A BLOOD TRIBE MEMBER…[EDUCATION IS] THE BIGGEST PART OF IT. IT SORT OF CONTAINS INFORMATION, SOME ARTICLES THAT WE HAND OUT AT OUR INFORMATION TABLES—GIVES PEOPLE SOME UNDERSTANDING OF THE ISSUES THAT WE BOTH FACE.” “MOSES LAKE IS JUST BORDERING ON THE TOWN OF CARDSTON, ON THE NORTH. WE ACTUALLY HAVE A LAND CLAIM FOR THAT PORTION OF LAND THAT THEY’RE ON, BECAUSE, I GUESS, AT ONE POINT, WE HAD TAKEN PITY ON THEM, AND ALLOWED THEM TO STAY THERE, MADE AN AGREEMENT, AND THEY JUST NEVER LEFT…A LOT OF THESE ISSUES ARISE AND [IS] ESPECIALLY ONE OF THE REASONS WE WERE SO COMPELLED TO DO THE COMMUNITIES IN UNITY IS THAT I DID NOT WANT TO SEE OUR TRIBAL MEMBERS GETTING HURT. IN THE TOWN OF CARDSTON WE HAD A RALLY THERE, EVEN BEFORE THE IDLE NO MORE MOVEMENT BEGAN. I THINK THAT WAS 2011, AND, AT THAT TIME, IT WAS BECAUSE ONE OF OUR TRIBAL MEMBERS WAS WALKING ON THE ROAD THERE, HAD GOT BUMPED AND KILLED. THE DRIVER JUST DROVE ON, WENT ON WITH THE REST OF HIS NIGHT. HE SAID THAT HE THOUGHT HE HIT A DOG. AND THERE WAS A THREE YEAR-OLD THAT WAS KILLED, AGAIN, IN THE MOSES LAKE COMMUNITY…AGAIN, THE [DRIVER] SAID SHE THOUGHT SHE HIT A DOG. THERE WAS ANOTHER GIRL THAT WAS STRUCK ON A CROSS-WALK, AND THE SAME GUY THAT HIT HER WAS THE GUY THAT BUMPED AND KILLED [THE FIRST MEMBER], AND, IN ALL OF THESE SITUATIONS, THE RACISM IN CARDSTON IS COSTING PEOPLE THEIR LIVES. WE SEE THINGS THAT HAPPEN HERE IN LETHBRIDGE, AND WE KNOW THAT THERE ARE SITUATIONS WHERE THINGS LIKE THIS HAVE HAPPENED, WHERE WE HAVE BEEN SUSPICIOUS, AS COMMUNITY MEMBERS, ABOUT WHAT HAPPENED TO THIS PERSON. WE JUST TRY TO, AT LEAST, HAVE SOME KIND OF OUTLET, BECAUSE, IF WE DON’T DO SOMETHING POSITIVE…THESE THINGS WILL JUST STAY OUT THERE. RECENTLY, WE DID THE WHOLE ISSUE WITH THE CARRIAGE HOUSE THEATER IN CARDSTON DOING THE WHOLE PETER PAN PRODUCTION. A LOT OF PEOPLE WERE SAYING, ‘THIS IS…JUST A PLAY’…I DIDN’T EVEN SEE THE THING, BUT I JUST THOUGHT, THIS IS THE ONE TIME WHERE WE CAN ACTUALLY SAY ‘THIS IS BLATANT RACISM.’ ALL THESE OTHER INSTANCES, WE CAN SAY THAT THIS WAS A FACTOR IN WHATEVER HAPPENED, BUT THERE WAS NO ACTUAL WAY TO PROVE IT, WHERE THIS ACTUALLY HAPPENED…THIS IS SHOWING HOW BLATANT THE RACISM IS, THAT WE ARE DEALING WITH, AND IF WE DON’T CALL THEM ON IT, IT’S NOT GOING TO STOP; IT’S NOT GOING TO END.” “SPEAKING WITH OUR ALLIES, THE WORK THAT WE STARTED, FROM 2012…WHEN THE IDLE NO MORE MOVEMENT STARTED, THINGS PICKED UP REALLY QUICK, AND IT WASN’T TOO LONG, WE GOT TO KNOW SHANNAN [LITTLE], AND FROM SHANNAN STARTED GIVING US INFORMATION FOR OTHER AVENUES [WE SHOULD EXPLORE]—WE GO INTO A BUDGET MEETING WITH THE LATE JIM HILLIER…LORI’S A BOARD MEMBER WITH THE OLDMAN WATERSHED COUNCIL. I’M A MEMBER—A VOLUNTEER WITH THEM—AND, WITH THE WORK THAT WE’VE DONE, I’D SAY THE KAINAI ECOSYSTEM PROTECTION AGENCY CAME OUT OF THAT, BECAUSE WE’VE BEEN PRESSING A LOT OF ENVIRONMENTAL ISSUES ON THE RESERVE. THIS GROUP HAS FORMED—WE’RE A PART OF THAT GROUP. NOW OLDMAN WATERSHED COUNCIL WANTED TO DO A DOCUMENTARY ABOUT OUR WATER…THE HEADWATERS. WE BROUGHT THEM ONTO THE RESERVE, AND THAT REALLY CHANGED EVERYTHING ABOUT WHAT THEY PERCEIVED, OF WHAT OUR RESERVE IS. FROM THAT, A FILM WAS MADE. FROM THAT DAY, OUR TRIBAL MEMBERS ARE DOING A SOUND TRACK, SO, FROM THE WORK THAT WE HAVE DONE, YOU SEE A LOT OF OTHER PEOPLE GETTING INVOLVED IN WHATEVER WAY. IT’S OUR TRIBAL MEMBERS THAT ARE INVOLVED WITH THE WATERSHED COUNCIL NOW. THAT MAKES ME FEEL GOOD, BECAUSE EVEN THOUGH IT DOESN’T SEEM LIKE YOU’VE DONE A LOT, WHEN YOU LOOK AROUND OUTSIDE, ALL THESE DIFFERENT AVENUES WHERE WE’VE CREATED SOMETHING, AND THAT’S THE THING THAT WE’RE PROUD OF—THAT THAT HAPPENED, AND WE’D LIKE TO KEEP DOING THAT, BECAUSE THE ISSUES THAT WE DEAL WITH ARE EVERYTHING—ENVIRONMENT, LANGUAGE. GOING BACK TO THE MURDERED AND MISSING INDIGENOUS WOMEN, MY FATHER WAS MURDERED. EVEN THEN, A LOT OF MEN WERE MURDERED, AND NOTHING WAS DONE ABOUT IT…I THINK ABOUT MY DAD—I THINK ABOUT MY UNCLES—MY RELATIVES THAT WERE MURDERED. NOTHING WAS DONE. THAT’S WHY I’M THERE, TOO…WE’VE CREATED SOME IN-ROADS. I KNOW THE TOUGHEST ONE IS WITH RACISM—AND IT’S WITH CARDSTON, THE TOUGHEST PLACE TO DEAL WITH, SO, IT’S A START NOW, SO, HOPEFULLY SOMEONE ELSE CAN TAKE IT ON.” BRAVE ROCK NOTED, “YOU CAN ALWAYS HAVE HOPE, AND THAT’S WHY EDUCATION AND AWARENESS IS SO KEY, BECAUSE IF YOU DON’T BRING THESE THINGS TO THE FOREFRONT, TO HAVE PEOPLE TO OPEN THAT DISCUSSION, HOW CAN CHANGE EVER HAPPEN? I DON’T THINK [SOME ISSUES LIKE RACISM ARE] EVER GOING TO BE GONE IN OUR LIFETIME, OR EVEN IN OUR KID’S LIFETIMES—BUT, AGAIN, YOU CAN SIT AND WALLOW IN THE NEGATIVITY OF THE WHOLE THING, OR YOU CAN GET UP AND DO SOMETHING THAT MAY POSSIBLY INSPIRE SOMEBODY…I LIKED ONE OF THE THINGS THAT WHEN IDLE NO MORE MOVEMENT CAME OUT, THERE WERE ALL THESE MEETINGS…IT WAS SAYING THAT A TRUE LEADER DOES NOT CREATE FOLLOWERS. A TRUE LEADER CREATES OTHER LEADERS…I MAY NOT HAVE HOPE THAT WE’RE EVER GOING TO ACHIEVE/GET RID OF SOME OF THE ISSUES THAT WE’RE DEALING WITH, BECAUSE THEY ARE SO HUGE, AND SO ALL-ENCOMPASSING…I WOULD FEEL VINDICATED IN ALL THE THINGS WE DID, IF WE INSPIRED SOMEBODY ELSE TO TAKE THE LEAD ON ANY OF THESE ISSUES.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOS FROM THE PROTESTS, PLEASE SEE THE PERMANENT FILE P20170015001-GA.
Catalogue Number
P20170015005
Acquisition Date
2017-04
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1980
Material Type
Artifact
Materials
BAKELITE, LEATHER, VELVET
Catalogue Number
P20160044003
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1980
Materials
BAKELITE, LEATHER, VELVET
No. Pieces
11
Height
27
Length
38
Width
11.5
Description
A: CASE: GREEN AND OFF-WHITE LEATHER CASE. BLACK PLASTIC/SILVER METAL LABEL THAT READS “CONN” ON FRONT OF CASE. GREEN HANDLE AT TOP WITH TWO METAL LATCHES ON EITHER SIDE. HINGES ON THE BOTTOM OF CASE TO OPEN. FOUR METAL FEET ON BOTTOM. CORK EDGES AROUND THE SIDES, STITCHED ON AND PAINTED OFF-WHITE COLOUR. INSIDE IS LINED WITH A GREEN VELVET. TOP FOLDS DOWN AND IS FASTENED WITH LEATHER STRAP AND METAL SNAP BUTTON. “CONN” LABEL IN TOP LEFT CORNER OF CASE THAT IS GOLD WITH BLACK AND RED PAINT INSIDE. THREE PEOPLE OF A MARCHING BAND IN IMAGE ON LABEL. THE BOTTOM HALF OF THE INSIDE OF CASE HAS EIGHT SECTIONS FOR INSTRUMENT PIECES AND ACCESSORIES. FAIR CONDITION: MODERATE TO SEVERE SURFACE DIRT OVERALL. VARIOUS GREEN STAINS AT TOP OF CASE. METAL COMPONENTS SCUFFED. SOME STITCHING AS SIDES COMING LOOSE. LOSS OF PAINT IN SEVERAL PLACES ALONG CORK EDGE. INSIDE FABRIC WORN. B: BLACK BAKELITE CLARINET BELL WITH SILVER AROUND BOTH EDGES. “CONN DIRECTOR U.S.A.” ETCHED ON OUTER SURFACE. 11 CM LENGTH. 8 CM BELL DIAMETER. C: BLACK BAKELITE LOWER JOINT WITH SILVER KEYS. CORK EDGE ON BOTTOM AND SILVER RIM AROUND TOP. “721800” ETCHED ON BACK NEAR CORK. PADDED THUMB REST ON BACK OF THIS JOINT. 25.5 CM X 2.5 CM. D: BLACK BAKELITE UPPER JOINT WITH SILVER KEYS. BOTH ENDS COVERED IN CORK. LOGO WITH THREE MARCHING BAND FIGURES ETCHED ON FRONT NEAR THE TOP. 22.5 CM X 2.3 CM (TOP DIAMETER SLIGHTLY WIDER). E: BLACK BAKELITE BARREL JOINT WITH SILVER EDGES. 6 CM X 3 CM (BOTTOM DIAMETER) 2.8 CM (TOP DIAMETER). F: BLACK BAKELITE MOUTHPIECE WITH CORK AT BOTTOM. METAL LIGATURE WITH ITS TWO SCREWS ATTACHED SECURING A REED TO THE MOUTHPIECE. 9 CM LONG WITH 2.1 CM DIAMETER AT BOTTOM. VERY GOOD CONDITION FOR B-F: SLIGHT SCUFFS OF SURFACE G: SILVER METAL MARCHING LYRE. CIRCULAR BAND WITH ADJUSTABLE SCREW FOR ATTACHMENT TO INSTRUMENT. THIS SCREWS ONTO A STEM, WHICH EXTENDS TO CONNECT TO A LYRIFORM SPRING CLAMP THAT IS MEANT TO HOLD MUSIC. FAIR CONDITION: SEVERE GREEN STAINING IN MANY AREAS OF SURFACE. METAL SLIGHTLY SCRATCHED OVERALL. H: BLACK PLASTIC REED HOLDER WITH SLOTS FOR TWO REEDS (ONE ON FRONT AND ONE ON). “LAVOZ” ETCHED IN PLASTIC ON FRONT AND BACK AND “USA” ABOVE THAT.7.7 CM X 2 CM. I: CLARINET REED ENCASED IN REED HOLDER (H).”RICO” IN MUSIC STAFF STAMPED ON BACKSIDE AND SIZE “V-2 ½” STAMPED BELOW THE LOGO. GOOD TO VERY GOOD CONDITION FOR H-I: SOME WEAR TO SIDE OF REED HOLDER WITH REED. REED SHOWS SIGNS OF USE. J: WHITE ENVELOPE THAT READS, “CONN EXCLUSIVE TUNING RING” WITH TEXT BELOW AND DIAGRAM OF THE TUNING RING PRINTED ALL IN BLACK INK ON THE FRONT OF THE ENVELOPE. THE BACK HAS SCOTCH TAPE SECURING THE RIGHT SIDE ENVELOPE FLAP. CAN FEEL ONE TUNING RING INSIDE ENVELOPE. 14 CM X 7.9 CM. FAIR TO GOOD CONDITION: PAPER OF ENVELOPE HAS SEVERELY YELLOWED. K-N: TWO IDENTICAL TUBES OF CORK GREASE WITH CAPS. WHITE PLASTIC TUBE THAT READS, “PARAMOUNT MUSIC “PREMIUM” CORK GREASE” AND AN ADDRESS BELOW ALL IN RED FONT. TWISTABLE END TO EXTEND THE GREASE IN TUBE. GREASE STILL PRESENT IN TUBES. RED PLASTIC CAPS. ONE READS “B 7 ETHYL” (K) ON INSIDE OF CAP AND THE OTHER READS “B 87 ETHYL” (N). 6.8 CM X 1,7 CM. GOOD TO VERY GOOD CONDITION: SLIGHT SURFACE DIRT ON LABEL. DISCOLOURING OF PLASTIC AROUND BOTTOM EDGES. GREASE IS CRYSTALIZING. O-P: SMALL, BLACK PLASTIC GREASE CONTAINER IN CUBE WITH GOLD METALLIC LETTERS ON LID “YAMAHA CORK GREASE”. HINGE ATTACHING LID TO CONTAINER, SO LID COMPLETE DETACHES. GREASE INSIDE OF THE CONTAINER. 2.7 CM X 2.7 CM X 2 CM. GOOD CONDITION: SLIGHT SCRATCHING ON SURFACE. BROKEN HINGE. Q: CLARINET CLEANING SWAB WAND WITH TWISTED WIRE WAND/HANDLE AND MULTICOLOURED (BLUES AND PINKS), FABRIC SWAB. THE SWAB IS SHAGGED. 29 CM X 2.5 CM. GOOD TO VERY GOOD CONDITION: WIRE IS SLIGHTLY BENT. R: CLOTH CLEANING SWAB WITH NATURAL-COLOURED TAN SUEDE CLOTH (APPROX. 12.5 CM X 6.3 CM) THAT HAS ROUGH EDGES. ONE CORNER OF SUEDE IS PINCHED TOGETHER WITH A SILVER METAL CLASP (TOOTHED), WHICH SECURES IT AROUND A BLACK STRING (57 CM IN LENGTH) WITH A SILVER-COLOURED WEIGHT AT THE END. FAIR CONDITION: STRING IS FRAYING MODERATELY IN ONE PLACE AND SLIGHTLY IN OTHERS. SUEDE FABRIC SHOWS DIRT. WEIGHT’S METAL IS SCUFFED.
Subjects
MUSICAL T&E
Historical Association
MILITARY
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS CLARINET WAS PLAYED BY THREE GENERATIONS OF THE DONORS’ FAMILY. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. RUTH EXPLAINED, “IT WAS PURCHASED BRAND NEW [IN THE] EARLY ‘50S WITH THE INTENT THAT HER FIRST SON, BERNIE (BORN IN 1950) WOULD PLAY THE CLARINET, WHICH HE DID. MOM DID USE IT FOR SOME LATER PERFORMANCES WITH THE ANDERSON SISTERS, BUT IT WAS PURCHASED [FOR HIM]. AND HIS DAUGHTER, CONNIE, ALSO PLAYED THE CLARINET.” SPEAKING OF WHY THEY SELECTED THIS OBJECT TO BE DONATED TO THE MUSEUM, RUTH SAID, “WHEN WE WERE GATHERING THINGS TOGETHER, WE THOUGHT [OF] WHAT INSTRUMENTS WE HAD THAT HAVE A CONNECTION. SO IT WAS DECIDED [ON THE CLARINET]. CONNIE WAS QUITE HAPPY TO KNOW THAT IT WAS COMING IN THIS DIRECTION, SINCE IT WAS GRANDMA’S CLARINET, IT SHOULD GO WITH GRANDMA’S THINGS.” OF ALL THE INSTRUMENTS ALICE KNEW HOW TO PLAY, THE CLARINET “WAS THE MAIN ONE,” RUTH CONTINUED, “BUT SHE PLAYED THE SAXOPHONE AS WELL. AND ALSO TAUGHT PIANO FOR YEARS AND YEARS AND YEARS. [ALL THE SISTERS] PLAYED PIANO REALLY WELL. SHE PLAYED OTHER INSTRUMENTS LIKE THE ORGAN, AND THERE WERE ACTUALLY INSTANCES TOO WHERE SOMEONE WOULD CALL ON HER TO LEARN HOW TO PLAY AN INSTRUMENT, AND SHE WOULD TEACH THEM HOW TO PLAY IT WITHOUT KNOWING HOW TO PLAY IT HERSELF, BECAUSE SHE KNEW THE TECHNIQUE [OR] WOULD LEARN THE TECHNIQUE. BUT THE CLARINET WAS HER MAIN THING WITH, AS I SAID, SAXOPHONE AND PIANO PROBABLY THE NEXT CLOSEST IN LINE.” THE SISTERS STATE THAT THEY REMEMBER THEIR MOTHER PLAYING THIS SPECIFIC CLARINET. ELEANOR SAID, “SHE DIDN’T PASS IT [ON] UNTIL CONNIE WANTED TO USE IT, BECAUSE BERNIE DIDN’T TAKE IT WITH HIM [FROM HOME].” RUTH ADDED, “YEAH, THAT’S RIGHT. I THINK IT’S REALLY ALWAYS BEEN HERS.” THE LAST TIME THEY REMEMBER HER PLAYING IT WOULD HAVE BEEN THE LAST TIME THE ANDERSON SISTERS ORCHESTRA PERFORMED, WHICH WAS A PERFORMANCE FOR THE ELKS IN GRANUM IN THE 1970S. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044003
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
WWII ARTILLERY CAP BADGE
Date Range From
1939
Date Range To
1945
Material Type
Artifact
Materials
BRASS
Catalogue Number
P20160038001
  1 image  
Material Type
Artifact
Other Name
WWII ARTILLERY CAP BADGE
Date Range From
1939
Date Range To
1945
Materials
BRASS
No. Pieces
2
Height
4.9
Length
7
Description
A: BRASS SECOND WORLD WAR ROYAL CANADIAN ARTILLERY CAP BADGE. BADGE DEPICTS THE ARTILLERY’S CREST WITH A FIELD GUN IN THE CENTER. UNDERNEATH A CROWN AT THE TOP OF THE BADGE IS THE WORD “UBIQUE” EMBOSSED IN BANNER IN BRASS. BELOW THE FIELD GUN IS A BANNER THAT READS “QUO PAS ET GLORIA DUCUNT”. BACKSIDE HAS TWO PARALLEL RINGS HORIZONTALLY IN THE BOTTOM HALF FOR THE PIN. B: BRASS CAP BADGE PIN WITH TWO PRONGS MEETING AT ONE END WITH A LOOP AND THEN EXTENDING OUTWARD. OUTER ENDS ARE BENT AWAY FROM EACH OTHER TO FORM A WIDER V. PIN DIMENSIONS: 6.1 X 1.7 CM CONDITION: FINISH HAS DARKENED WITH MINOR WEAR TO SURFACE.
Subjects
PERSONAL SYMBOL
Historical Association
MILITARY
History
IN 2016, JOHN VAN DEN BROEKE DONATED TWO CAP BADGES AND A WORLD WAR II DEFENSE MEDAL TO THE GALT MUSEUM. VAN DEN BROEKE’S FATHER, GEORGE JOHN VAN DEN BROEKE, AND HIS UNCLE, MARTIN CORNELIUS VAN DEN BROEKE BOTH SERVED FOR CANADA DURING THE WAR. VAN DEN BROEKE’S UNCLE WAS KILLED IN ACTION WHILE OVERSEAS. IT IS CLAIMED THE ARTIFACTS BELONGED TO THE DONOR'S FATHER AND UNCLE. THIS BADGE IS PRESUMED TO HAVE BELONGED TO THE DONOR'S FATHER. TO ACQUIRE FURTHER INFORMATION REGARDING THE ARTIFACTS’ HISTORY, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DONOR JOHN VAN DEN BROEKE AT THE MUSEUM ON 6 NOVEMBER 2016. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW. VAN DEN BROEKE EXPLAINED, “MY FATHER WAS...A GUNNER [WITH THE 44 A.A. BATTERY]. HE WAS STATIONED AT PRINCE RUPERT. MY UNCLE – I’M NOT TOO SURE IF ANY OF THESE [ITEMS] DEAL WITH HIM – IS ON THE CENOTAPH AT LETHBRIDGE. HE DIED IN VILLANOVA ITALY IN DECEMBER ’44, 1943... THE WAR IS JUST ABOUT OVER WHEN HE GOT KILLED.” “[THESE BADGES AND THE MEDAL REMIND ME OF] THE WAR EFFORT,” VAN DEN BROEKE CONTINUED, “[ALONG WITH] MY UNCLE AND MY FATHER [WHO WERE A PART OF THAT EFFORT]. [WHILE] MY UNCLE DIED IN ’44, MY FATHER [DIDN’T GO] INTO THE ARMY UNTIL ABOUT ’43. HE WAS DRAFTED OUT TO PRINCE RUPERT FOR THE JAPANESE INVASION, IF IT WAS GOING TO HAPPEN. IT’S [PART OF THE] HISTORY OF OUR FAMILY.” ALONG WITH THE DONATION OF THE BADGES AND THE MEDAL, VAN DEN BROEKE DONATED SOME OF HIS FAMILY’S ARCHIVAL MATERIAL CONNECTED TO THE SECOND WORLD WAR TO THE GALT ARCHIVES (PLEASE SEE ARCHIVAL ACCESSION NUMBER 20161102). ACCORDING TO THE INTERVIEW, JOHN VAN DEN BROEKE [THE DONOR] WAS BORN IN 1947 AND HIS DAD RETURNED HOME FOLLOWING THE WAR. HE STATED, “[I KNEW THAT THESE MATERIALS EXISTED] FROM WHEN I WAS ABOUT TWENTY, OR MAYBE EVEN YOUNGER. MY GRANDMOTHER WAS MOTHER OF THE YEAR OR WHATEVER THEY CALL, SILVER MOTHER OR SOMETHING, HERE IN LETHBRIDGE IN 1967.” “[MOST OF THE VETERANS] DIDN’T WANT TO TALK ABOUT IT,” VAN DEN BROEKE REPLIED WHEN ASKED ABOUT HIS MEMORIES OF HIS FATHER SPEAKING ABOUT HIS EXPERIENCE OF THE WAR, “PROBABLY THE FIRST REAL TIME I GOT INTO THIS WAS WHEN HE WENT AND TOOK GRAMMA TO THE GRAVE TO LAY THE WREATH. HE ESCORTED HER AS HER SON, AND SHE LAID THE WREATH ON BEHALF OF SOUTHERN ALBERTA. I WAS THERE FOR THAT CEREMONY, AND [I RECALL BEING] QUITE TAKEN BACK BY THE WAY THOSE GUYS COULD SALUTE. IT WAS THE FIRST TIME I’D SEEN MY FATHER DO IT, AND IT ALMOST RAISED THE HAIR ON YOUR NECK BECAUSE IT WAS SO PRECISE. SO THAT’S WHEN I STARTED TAKING AN INTEREST IN THIS STUFF.” “[EVEN AFTER I TOOK AN INTEREST IN THAT HISTORY, MY DAD DID NOT REALLY SPEAK MUCH ABOUT IT.] THERE WASN’T A LOT HAPPENED ON THE WEST COAST [WHERE HE WAS STATIONED AT PRINCE RUPERT]. THEY WERE SITTING UP THERE WAITING F0R THE JAPANESE TO INVADE AND THEY HAD ALL THE GUNS OUT ON THE WEST COAST, BUT IT NEVER CAME TO BE,” VAN DEN BROEKE STATED.” WHEN ASKED WHY HIS FATHER DID NOT GO OVERSEAS, VAN DEN BROEKE SPECULATED, “PROBABLY BECAUSE HE WASN’T CONSCRIPTED UNTIL ’43. AT THAT POINT THEY THOUGHT THE JAPANESE WERE [A LARGE THREAT]. THEY PROBABLY ATTACKED PEARL HARBOR BY THEN, I WOULD IMAGINE. THAT’S WHEN THEY SET UP THE TROOPS ON THE WEST COAST. MY UNCLE WENT IN THE WAR PROBABLY IN ’39 WHEN IT STARTED, SO HE WAS PROBABLY CONSCRIPTED AND SENT OVERSEAS, AND THAT’S HOW HE ENDED UP IN ITALY.” “[ON THE OTHER HAND] I THINK MY FATHER WAS ACTUALLY CONSCRIPTED [TO JOIN THE WAR], BECAUSE HE WAS QUITE A BIT OLDER AND WHEN HE GOT INTO THE ARMY HE WOULD HAVE BEEN [AROUND HIS MID TO LATE THIRTIES].” “I WOULD SAY MY MOTHER [WAS THE PERSON MOST AWARE OF THESE ARTIFACTS OTHER THAN MY FATHER],” VAN DEN BROEKE CONTINUED, “PROBABLY THE FIRST TIME I’D SEEN IT [WAS AFTER] MY DAD PASSED AWAY IN ’67. [WHEN] I WAS ONLY NINETEEN, HE WAS IN A FIRE AT PARK LAKE. HE WAS THE WARDEN AT THE PARK LAKE PROVINCIAL PARK AND A GARAGE BLEW UP AND HE DIED JANUARY 1ST, 1968. SO AT THAT POINT MY MOTHER AND I MOVED FROM PARK LAKE TO PICTURE BUTTE. [I RECEIVED THE ITEMS] WHEN MY MOTHER PASSED AWAY IN ABOUT 1992.” SPEAKING ABOUT HIS FATHER’S EARLIER LIFE, VAN DEN BROEKE SAID, “HE WAS BORN IN HELLENDOORN, HOLLAND IN 1905 ON JANUARY 30TH. HE EMIGRATED TO MONARCH WITH HIS FATHER IN 1911. HIS FATHER WAS A BLACKSMITH IN MONARCH. PROBABLY ABOUT TWENTY-FIVE OR THIRTY [DUTCH IMMIGRANTS WERE HERE WHEN MY DAD’S FAMILY ARRIVED] AND THEY ALL SETTLED IN MONARCH. THAT’S WHY YOU HAVE THAT LITTLE CHURCH OUT THERE IN THE COUNTRYSIDE AT MONARCH. THAT WAS PART OF THEIR CHURCH, ALL MY AUNTS AND UNCLES, AND THEY’RE BURIED IN THE MONARCH/NOBLEFORD CEMETERY.” AS HIS UNCLE WAS KILLED IN ACTION DURING THE SECOND WORLD WAR, VAN DEN BROEKE HAS SPECIFIC MEMORIES OF HIS FAMILY’S EXPERIENCE OF THE REMEMBRANCE DAYS AFTER THE WAR. HE SAID, “YEARS AGO I SENT THEIR PICTURES BOTH INTO THE HERALD WHEN THEY FIRST STARTED THAT REMEMBRANCE DAY [PUBLICATION]. I SENT BOTH THEIR PICTURES AND THEY’VE BEEN IN THE HERALD. [AND THAT’S WHY I WAS REMINDED TO DONATE THESE ITEMS TO THE MUSEUM] RIGHT NOW, AS WE JUST HAVE A WEEK TO GO [UNTIL REMEMBRANCE DAY].” A NOTICE PUBLISHED IN THE LETHBRIDGE HERALD STATES, “SON OF GEO. VAN DEN BROEKE OF MONARCH, GUNNER A. J. VAN DEN BROEKE, WHO IS SERVING WITH A BATTERY STATIONED AT THE WEST COAST. HE HAS A WIFE AND AN INFANT DAUGHTER, CHRISTINE LOUISE, RESIDED AT MONARCH, ALTA., ALSO A BROTHER OVERSEAS…” THE OBITUARY OF THE DONOR’S FATHER WAS PUBLISHED IN THE LETHBRIDGE HERALD. IT READS, “PASSED AWAY IN SUDDENLY IN THE CITY ON MONDAY, JAN. 1, [1968], GEORGE JOHN “GERRIT”, AGED 62 YEARS, BELOVED HUSBAND OF MRS. CHRISTINA VAN DEN BROEKE OF COALHURST. BESIDES HIS LOVING WIFE, SURVIVORS INCLUDE TWO SONS, GEORGE JOHN OF COALHURST, AND HENRY MARTIN OF RED DEER; ONE DAUGHTER, MRS. WALTER CHRISTINE LOUISE DUNN OF TURIN; ONE SISTER, RIKA NILSON… HIS STEPMOTHER MRS. JOHANNA VAN DEN BROEKE. THE LATE MR. VAN DEN BROEKE WAS BORN IN HOLLAND IN 1905 AND WAS RAISED AND EDUCATED IN MONARCH.” ACCORDING TO HIS SERVICE FILE, OBTAINED FROM THE LIBRARY AND ARCHIVES OF CANADA, GEORGE VAN DEN BROEKE ENLISTED ON NOVEMBER 6, 1942 UNDER THE NATIONAL RESOURCES MOBILIZATION ACT OF 1940. VAN DEN BROEKE WAS LISTED AS BEING A TRUCK DRIVER AT THE TIME OF HIS ENLISTMENT. VAN DEN BROEKE WAS STATIONED AS A GUNNER FIRST AT ESQUIMALT, BRITISH COLUMBIA, THEN AT VANCOUVER, BRITISH COLUMBIA IN 1943 WITH THE 27, 28, AND 29TH REGIMENTS OF THE 44 AA BATTERY. GEORGE VAN DEN BROEKE WAS DISCHARGED ON MARCH 7, 1946 ON DEMOBILIZATION. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, GEORGE VAN DEN BROEKE'S SERVICE RECORD, AND ARCHIVAL RESEARCH (UOFL ARCHIVES RECORD, COMMONWEALTH WAR GRAVES COMMISSION LETTER, AND LETHBRIDGE HERALD ARTICLES).
Catalogue Number
P20160038001
Acquisition Date
2016-11
Collection
Museum
Images
Less detail
Other Name
WWII CALGARY HIGHLANDERS CAP BADGE
Date Range From
1939
Date Range To
1945
Material Type
Artifact
Materials
BRONZE, BRASS, METAL
Catalogue Number
P20160038002
  1 image  
Material Type
Artifact
Other Name
WWII CALGARY HIGHLANDERS CAP BADGE
Date Range From
1939
Date Range To
1945
Materials
BRONZE, BRASS, METAL
No. Pieces
2
Height
5.5
Length
4.8
Description
A: BRONZE SECOND WORLD WAR CALGARY HIGHLANDERS CAP BADGE. WREATH OF THISTLE IN BRONZE WITH ST. ANDREW’S CROSS (AN "X") MAKES UP OVERALL SHAPE OF BADGE. ON THE CENTRE OF THE CROSS, THERE IS A BEAVER ON A LOG ENCIRCLED BY A WREATH OF MAPLE LEAVES. BEAVER AND LOG ARE IN A DARKER METAL THAN REST OF BRONZE DESIGN. ON THE WREATH, BELOW THE BEAVER, IS A SCROLL OF THISTLES AND BELOW THAT IS A WHITE METAL SCROLL INSCRIBED WITH “CALGARY HIGHLANDERS”. THE CROWN IN AT THE TOP CENTER OF THE BADGE. BACK SIDE HAS A LOOP ON EITHER SIDE OF THE BADGE, PARALLEL FROM EACH OTHER, FOR THE PIN. B: BRASS-COLOURED PIN WITH TWO PRONGS MEETING ON ONE END IN A LOOP AND COMING OUT FROM THAT, AWAY FROM EACH OTHER, LIKE A “V”. PIN DIMENSIONS: 5.2 X 1.1 CM. CONDITION: SLIGHT TARNISHING OF METAL OVERALL.
Subjects
PERSONAL SYMBOL
Historical Association
MILITARY
History
IN 2016, JOHN VAN DEN BROEKE DONATED TWO CAP BADGES AND A WORLD WAR II DEFENSE MEDAL TO THE GALT MUSEUM. VAN DEN BROEKE’S FATHER, GEORGE JOHN VAN DEN BROEKE, AND HIS UNCLE, MARTIN CORNELIUS VAN DEN BROEKE BOTH SERVED FOR CANADA DURING THE WAR. VAN DEN BROEKE’S UNCLE WAS KILLED IN ACTION WHILE OVERSEAS. IT IS CLAIMED THE ARTIFACTS BELONGED TO THE DONOR’S FATHER AND UNCLE. THIS BADGE IS PRESUMED TO HAVE BELONGED TO THE DONOR'S UNCLE. TO ACQUIRE FURTHER INFORMATION REGARDING THE ARTIFACTS’ HISTORY, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DONOR JOHN VAN DEN BROEKE AT THE MUSEUM ON 6 NOVEMBER 2016. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW. VAN DEN BROEKE EXPLAINED, “MY FATHER WAS...A GUNNER [WITH THE 44 A.A. BATTERY]. HE WAS STATIONED AT PRINCE RUPERT. MY UNCLE – I’M NOT TOO SURE IF ANY OF THESE [ITEMS] DEAL WITH HIM – IS ON THE CENOTAPH AT LETHBRIDGE. HE DIED IN VILLANOVA ITALY IN DECEMBER ’44, 1943... THE WAR IS JUST ABOUT OVER WHEN HE GOT KILLED.” “[THESE BADGES AND THE MEDAL REMIND ME OF] THE WAR EFFORT,” VAN DEN BROEKE CONTINUED, “[ALONG WITH] MY UNCLE AND MY FATHER [WHO WERE A PART OF THAT EFFORT]. [WHILE] MY UNCLE DIED IN ’44, MY FATHER [DIDN’T GO] INTO THE ARMY UNTIL ABOUT ’43. HE WAS DRAFTED OUT TO PRINCE RUPERT FOR THE JAPANESE INVASION, IF IT WAS GOING TO HAPPEN. IT’S [PART OF THE] HISTORY OF OUR FAMILY.” ALONG WITH THE DONATION OF THE BADGES AND THE MEDAL, VAN DEN BROEKE DONATED SOME OF HIS FAMILY’S ARCHIVAL MATERIAL CONNECTED TO THE SECOND WORLD WAR TO THE GALT ARCHIVES (PLEASE SEE ARCHIVAL ACCESSION NUMBER 20161102). OF THAT SEGMENT OF THE DONATION, VAN DEN BROEKE DESCRIBED, “THERE’S A LETTER THERE FROM THE LIEUTENANT WHO WITNESSED MY UNCLE GETTING SHOT IN VILLANOVA, ITALY AND [SAW] WHAT HAPPENED… IT EXPLAINS THAT HE WAS A SERGEANT AND HIS PLATOON WAS TO TAKE A STRATEGIC AREA. THEY WERE PINNED DOWN UNDER HEAVY MACHINE GUN FIRE, AND HE WAS MORTALLY WOUNDED. HE DIED INSTANTLY OF HIS WOUNDS. THE LIEUTENANT SAID HE WAS A VERY GOOD SERGEANT AND THAT HE WAS THERE HELPING TO FIGHT THE NAZI MONSTER, SO THE LETTER IS QUITE INTERESTING AND IT’S IN VERY GOOD SHAPE.” ACCORDING TO THE INTERVIEW, VAN DEN BROEKE WAS BORN IN 1947 AND HIS DAD RETURNED HOME FOLLOWING THE WAR. HE STATED, “[I KNEW THAT THESE MATERIALS EXISTED] FROM WHEN I WAS ABOUT TWENTY, OR MAYBE EVEN YOUNGER. MY GRANDMOTHER WAS MOTHER OF THE YEAR OR WHATEVER THEY CALL, SILVER MOTHER OR SOMETHING, HERE IN LETHBRIDGE IN 1967.” “[MOST OF THE VETERANS] DIDN’T WANT TO TALK ABOUT IT,” VAN DEN BROEKE REPLIED WHEN ASKED ABOUT HIS MEMORIES OF HIS FATHER SPEAKING ABOUT HIS EXPERIENCE OF THE WAR, “PROBABLY THE FIRST REAL TIME I GOT INTO THIS WAS WHEN HE WENT AND TOOK GRAMMA TO THE GRAVE TO LAY THE WREATH. HE ESCORTED HER AS HER SON, AND SHE LAID THE WREATH ON BEHALF OF SOUTHERN ALBERTA. I WAS THERE FOR THAT CEREMONY, AND [I RECALL BEING] QUITE TAKEN BACK BY THE WAY THOSE GUYS COULD SALUTE. IT WAS THE FIRST TIME I’D SEEN MY FATHER DO IT, AND IT ALMOST RAISED THE HAIR ON YOUR NECK BECAUSE IT WAS SO PRECISE. SO THAT’S WHEN I STARTED TAKING AN INTEREST IN THIS STUFF.” "MY UNCLE WENT IN THE WAR PROBABLY IN ’39 WHEN IT STARTED, SO HE WAS PROBABLY CONSCRIPTED AND SENT OVERSEAS, AND THAT’S HOW HE ENDED UP IN ITALY.” “[MY UNCLE] HE WASN’T [MARRIED WHEN HE WENT OVERSEAS]. HE WAS 23 [WHEN HE DIED]. SO HE WAS YOUNG, PROBABLY JOINED WHEN HE WAS NINETEEN. THERE WAS A LOT OF PEOPLE AT THAT TIME SAYING, ‘COME ON, JOIN AND LET’S GO FIGHT,’ SO THAT’S WHAT THEY DID,” SAID VAN DEN BROEKE, “HE HAD A SISTER THAT USED TO LIVE IN CUTBANK, MONTANA NAMED RIKA NELSON. SHE HAD TWO OR THREE OR FOUR KIDS, AND THERE IS A PICTURE OF [MY UNCLE] WITH TWO OF HER SONS (ARCHIVES ACCESSION NUMBER 20161102).” “I WOULD SAY MY MOTHER [WAS THE PERSON MOST AWARE OF THESE ARTIFACTS OTHER THAN MY FATHER],” VAN DEN BROEKE CONTINUED, “PROBABLY THE FIRST TIME I’D SEEN IT [WAS AFTER] MY DAD PASSED AWAY IN ’67. [WHEN] I WAS ONLY NINETEEN, HE WAS IN A FIRE AT PARK LAKE. HE WAS THE WARDEN AT THE PARK LAKE PROVINCIAL PARK AND A GARAGE BLEW UP AND HE DIED JANUARY 1ST, 1968. SO AT THAT POINT MY MOTHER AND I MOVED FROM PARK LAKE TO PICTURE BUTTE. [I RECEIVED THE ITEMS] WHEN MY MOTHER PASSED AWAY IN ABOUT 1992.” SPEAKING ABOUT HIS FATHER’S EARLIER LIFE, VAN DEN BROEKE SAID, “HE WAS BORN IN HELLENDOORN, HOLLAND IN 1905 ON JANUARY 30TH. HE EMIGRATED TO MONARCH WITH HIS FATHER IN 1911. HIS FATHER WAS A BLACKSMITH IN MONARCH. PROBABLY ABOUT TWENTY-FIVE OR THIRTY [DUTCH IMMIGRANTS WERE HERE WHEN MY DAD’S FAMILY ARRIVED] AND THEY ALL SETTLED IN MONARCH. THAT’S WHY YOU HAVE THAT LITTLE CHURCH OUT THERE IN THE COUNTRYSIDE AT MONARCH. THAT WAS PART OF THEIR CHURCH, ALL MY AUNTS AND UNCLES, AND THEY’RE BURIED IN THE MONARCH/NOBLEFORD CEMETERY.” “[THE DUTCH CONNECTION IS] VERY INTERESTING BECAUSE ROELOF HEINEN USED TO BE REEVE FOR THE COUNTY OF LETHBRIDGE WHEN THEY HAD THAT DUTCH, THEY HAD SOME KIND OF A DUTCH APPRECIATION DAY IN PICTURE BUTTE ABOUT TWENTY-FIVE YEARS AGO. ROELOF TOOK THAT LETTER THAT I GOT FROM THE LIEUTENANT AND HE WAS GOING TO READ IT AT THAT APPRECIATION DAY, BUT THE PROGRAM GOT TOO LONG AND HE NEVER GOT TO IT,” VAN DEN BROEKE RECALLED AS HE SPOKE OF THE SIGNIFICANCE OF HIS FAMILY’S DUTCH BACKGROUND IN CONNECTION TO THE SECOND WORLD WAR, “[MY UNCLE BEING A DUTCH IMMIGRANT FIGHTING WITH THE CANADIAN MILITARY] WAS QUITE UNIQUE. HE WAS FIGHTING FOR CANADA, [AND HE WAS] BORN IN CANADA, BUT WITH A DUTCH NAME AND HE WAS KILLED IN ITALY. HE’S THE ONLY ONE THAT DIED FROM THE MONARCH/NOBLEFORD AREA THAT WENT TO FIGHT, ACCORDING TO THE HISTORY BOOKS FROM THE AREA. AS HIS UNCLE WAS KILLED IN ACTION DURING THE SECOND WORLD WAR, VAN DEN BROEKE HAS SPECIFIC MEMORIES OF HIS FAMILY’S EXPERIENCE OF THE REMEMBRANCE DAYS AFTER THE WAR. HE SAID, “YEARS AGO I SENT THEIR PICTURES BOTH INTO THE HERALD WHEN THEY FIRST STARTED THAT REMEMBRANCE DAY [PUBLICATION]. I SENT BOTH THEIR PICTURES AND THEY’VE BEEN IN THE HERALD. [AND THAT’S WHY I WAS REMINDED TO DONATE THESE ITEMS TO THE MUSEUM] RIGHT NOW, AS WE JUST HAVE A WEEK TO GO [UNTIL REMEMBRANCE DAY].” AN ONLINE RECORD FOR THE DONOR’S UNCLE, MARTIN CORNELIUS VAN DEN BROEKE FROM THE UNIVERSITY OF LETHBRIDGE ARCHIVES DATABASE TITLED, “LETHBRIDGE CENOTAPH,” READS, “MARTIN VAN DEN BROEKE WAS BORN ON JULY 12, 1921 IN MONARCH, ALBERTA TO PARENTS GERHARD AND JOHANNA VAN DEN BROEKE. HE WAS RAISED AND EDUCATED IN MONARCH WITH SIBLINGS, GERRIT AND RIKA… AT THE TIME OF ENLISTMENT, HE WAS SINGLE AND WORKING FOR HIS FATHER AS AN APPRENTICE BLACKSMITH. ON DECEMBER 22, 1942, MARTIN VAN DEN BROEKE ENLISTED FOR SERVICE WITH THE CANADIAN ARMY AT CALGARY. HE SPENT THE NEXT NINE MONTHS TRAINING AT CALGARY, CAMROSE, AND WINDSOR, NOVA SCOTIA. ON SEPTEMBER 1, 1943, SERGEANT VAN DEN BROEKE ARRIVED IN THE UNITED KINGDOM. JUST TWO MONTHS LATER, HE WAS SENT TO ITALY WHERE HE WAS TAKEN ON STRENGTH BY THE CAPE BRETON HIGHLANDERS. SERGEANT VAN DEN BROEKE WAS INCLUDED IN COMBAT OPERATIONS WITH THIS UNIT AS THE ALLIED FORCES MADE THEIR MARCH ACROSS ITALY. ON DECEMBER 13, 1944, SERGEANT VAN DEN BROEKE WAS KILLED IN ACTION DURING THE BREAKING OF THE GOTHIC LINE. HE WAS LAID TO REST AT VILLANOVA CANADIAN WAR CEMETERY. FOR HIS WARTIME SERVICE, SERGEANT VAN DEN BROEKE WAS AWARDED THE 1939-45 STAR, ITALY STAR, WAR MEDAL AND CANADIAN VOLUNTEER SERVICE MEDAL WITH CLASP. HIS MOTHER RECEIVED A MEMORIAL CROSS IN HONOUR OF HER SON.” A LETTER PROVIDED BY THE DONOR FROM THE COMMONWEALTH WAR GRAVES COMMISSION STATES, “M 105808 SERGEANT MARTIN CORNELIUS VAN DEN BROEKE OF THE CAPE BRETON HIGHLANDERS, CANADIAN INFANTRY CORPS DIED ON 13 DECEMBER 1944 AT AGE 23. HE IS BURIED IN THE VILLANOVA CANADIAN WAR CEMETERY, ITALY IN PLOT 7, ROW B, GRAVE 5.” ACCODING TO THE WEBSITE OF VETERANS AFFAIRS CANADA ON THE VILLANOVA CANADIAN WAR CEMETERY IN ITALY, THE CANADIAN 5TH ARMOURED DIVISION, WHICH INCLUDED THE CAPE BRETON HIGHLANDERS AND NOVA SCOTIA HIGHLANDERS, ESTABLISHED A BRIDGEHEAD OVER THE LAMONE RIVER ON DECEMBER 10-11, 1944. THE 5TH CANADIAN ARMOURED DIVISION PARTICIPATED IN LIBERATING THE ITALIAN PROVINCE OF RAVENNA, INCLUDING THE VILLAGE OF VILLANOVA, IN DECEMBER 1944. AS STATED ON THE VETERANS AFFAIRS WEBSITE ON THE VILLANOVA CEMETERY, “THE ADVANCE ACROSS THE LAMONE NEAR VILLANOVA WENT WELL. THE CAPE BRETON HIGHLANDERS WERE QUICKLY OVER THE DYKE AND IN THE VILLAGE, WITH 43 PRISONERS CAPTURED…THE NAVIGLIO CANAL WAS THE NEXT CANADIAN OBJECTIVE, AND THE ASSAULT BEGAN THE NIGHT OF DECEMBER 12…ENEMY FIRE PREVENTED THE RESERVE SQUADRONS FROM EVEN APPROACHING THE CANAL. TO MAKE MATTERS WORSE, AIR SUPPORT WAS UNAVAILABLE DUE TO POOR VISIBILITY AND THE TANKS WERE UNABLE TO REACH THIS SECTION. IN THAT ONE NIGHT'S ACTION, 21 OF THE REGIMENT WERE KILLED AND 46 CAPTURED…THE SITUATION WOULD IMPROVE IN A MATTER OF DAYS, WHEN AIR AND TANK SUPPORT BECAME AVAILABLE.” A LETHBRIDGE HERALD ARTICLE WAS PUBLISHED ABOUT THE DEATH OF MARTIN VAN DEN BROEKE. IT STATES, “HE IS THE FIRST SERVICEMAN FROM MONARCH TO MAKE THE SUPREME SACRIFICE.” ARTICLES WERE ALSO PUBLISHED IN THE NEWSPAPER ABOUT PREVIOUS INJURIES MARTIN VAN DEN BROEKE SUSTAINED IN COMBAT. THE OBITUARY OF THE DONOR’S FATHER WAS PUBLISHED IN THE LETHBRIDGE HERALD. IT READS, “PASSED AWAY IN SUDDENLY IN THE CITY ON MONDAY, JAN. 1, [1968], GEORGE JOHN “GERRIT”, AGED 62 YEARS, BELOVED HUSBAND OF MRS. CHRISTINA VAN DEN BROEKE OF COALHURST. BESIDES HIS LOVING WIFE, SURVIVORS INCLUDE TWO SONS, GEORGE JOHN OF COALHURST, AND HENRY MARTIN OF RED DEER; ONE DAUGHTER, MRS. WALTER CHRISTINE LOUISE DUNN OF TURIN; ONE SISTER, RIKA NILSON… HIS STEPMOTHER MRS. JOHANNA VAN DEN BROEKE. THE LATE MR. VAN DEN BROEKE WAS BORN IN HOLLAND IN 1905 AND WAS RAISED AND EDUCATED IN MONARCH.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, GEORGE VAN DEN BROEKE'S SERVICE FILE, AND ARCHIVAL RESEARCH (UOFL ARCHIVES RECORD, COMMONWEALTH WAR GRAVES COMMISSION LETTER, AND LETHBRIDGE HERALD ARTICLES).
Catalogue Number
P20160038002
Acquisition Date
2016-11
Collection
Museum
Images
Less detail
Other Name
DEFENSE / 1939-1945 WAR MEDAL
Date Range From
1939
Date Range To
1945
Material Type
Artifact
Materials
NICKLE, RIBBON
Catalogue Number
P20160038003
  2 images  
Material Type
Artifact
Other Name
DEFENSE / 1939-1945 WAR MEDAL
Date Range From
1939
Date Range To
1945
Materials
NICKLE, RIBBON
No. Pieces
1
Length
12.7
Width
3.2
Diameter
3
Description
A. CIRCULAR, SILVER MEDAL. THE BRITISH ISSUE MEDALS WERE MADE OF CUPRO-NICKEL. A PLAIN, STRAIGHT NON-SWIVELING SUSPENDER WITH A SINGLE-TOED CLAW. THE OBVERSE OF THE MEDAL SHOWS THE CROWNED COINAGE EFFIGY OF KING GEORGE VI, FACING LEFT, AND THE LEGEND GEORGIVS VI D : BR : OMN : REX ET INDIAE IMP : THE REVERSE SHOWS A LION STANDING ON THE BODY OF A DOUBLE-HEADED DRAGON. THE DRAGON’S HEADS ARE THOSE OF AN EAGLE AND A DRAGON TO SIGNIFY THE PRINCIPAL OCCIDENTAL AND ORIENTAL ENEMIES. AT THE TOP, RIGHT OF CENTRE ARE THE DATES 1939/1945 IN TWO LINES. B. ATTACHED RIBBON IS 3.2 CM WIDE WITH GREEN, BLACK, ORANGE BANDS OF COLOUR. CONDITION: RIBBON SLIGHTLY DIRTY AND ENDS HAVE FRAYED; DIRT AND SEVERE TARNISH OF THE METAL.
Subjects
PERSONAL SYMBOL
Historical Association
MILITARY
History
IN 2016, JOHN VAN DEN BROEKE DONATED TWO CAP BADGES AND A WORLD WAR II DEFENSE MEDAL TO THE GALT MUSEUM. VAN DEN BROEKE’S FATHER, GEORGE JOHN VAN DEN BROEKE, AND HIS UNCLE, MARTIN CORNELIUS VAN DEN BROEKE BOTH SERVED FOR CANADA DURING THE WAR. VAN DEN BROEKE’S UNCLE WAS KILLED IN ACTION WHILE OVERSEAS. IT IS UNCLEAR IF THE COMPOSITE MEDAL AND RIBBON BELONGED TO THE DONOR’S FATHER OR UNCLE. THE MISMATCHED RIBBON AND MEDAL ARE CATALOGUED AS RECEIVED FROM THE DONOR. TO ACQUIRE FURTHER INFORMATION REGARDING THE ARTIFACTS’ HISTORY, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DONOR JOHN VAN DEN BROEKE AT THE MUSEUM ON 6 NOVEMBER 2016. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW. VAN DEN BROEKE EXPLAINED, “MY FATHER WAS...A GUNNER [WITH THE 44 A.A. BATTERY]. HE WAS STATIONED AT PRINCE RUPERT. MY UNCLE – I’M NOT TOO SURE IF ANY OF THESE [ITEMS] DEAL WITH HIM – IS ON THE CENOTAPH AT LETHBRIDGE. HE DIED IN VILLANOVA ITALY IN DECEMBER ’44, 1943... THE WAR IS JUST ABOUT OVER WHEN HE GOT KILLED.” “[THESE BADGES AND THE MEDAL REMIND ME OF] THE WAR EFFORT,” VAN DEN BROEKE CONTINUED, “[ALONG WITH] MY UNCLE AND MY FATHER [WHO WERE A PART OF THAT EFFORT]. [WHILE] MY UNCLE DIED IN ’44, MY FATHER [DIDN’T GO] INTO THE ARMY UNTIL ABOUT ’43. HE WAS DRAFTED OUT TO PRINCE RUPERT FOR THE JAPANESE INVASION, IF IT WAS GOING TO HAPPEN. IT’S [PART OF THE] HISTORY OF OUR FAMILY.” ALONG WITH THE DONATION OF THE BADGES AND THE MEDAL, VAN DEN BROEKE DONATED SOME OF HIS FAMILY’S ARCHIVAL MATERIAL CONNECTED TO THE SECOND WORLD WAR TO THE GALT ARCHIVES (PLEASE SEE ARCHIVAL ACCESSION NUMBER 20161102). OF THAT SEGMENT OF THE DONATION, VAN DEN BROEKE DESCRIBED, “THERE’S A LETTER THERE FROM THE LIEUTENANT WHO WITNESSED MY UNCLE GETTING SHOT IN VILLANOVA, ITALY AND [SAW] WHAT HAPPENED… IT EXPLAINS THAT HE WAS A SERGEANT AND HIS PLATOON WAS TO TAKE A STRATEGIC AREA. THEY WERE PINNED DOWN UNDER HEAVY MACHINE GUN FIRE, AND HE WAS MORTALLY WOUNDED. HE DIED INSTANTLY OF HIS WOUNDS. THE LIEUTENANT SAID HE WAS A VERY GOOD SERGEANT AND THAT HE WAS THERE HELPING TO FIGHT THE NAZI MONSTER, SO THE LETTER IS QUITE INTERESTING AND IT’S IN VERY GOOD SHAPE.” ACCORDING TO THE INTERVIEW, VAN DEN BROEKE WAS BORN IN 1947 AND HIS DAD RETURNED HOME FOLLOWING THE WAR. HE STATED, “[I KNEW THAT THESE MATERIALS EXISTED] FROM WHEN I WAS ABOUT TWENTY, OR MAYBE EVEN YOUNGER. MY GRANDMOTHER WAS MOTHER OF THE YEAR OR WHATEVER THEY CALL, SILVER MOTHER OR SOMETHING, HERE IN LETHBRIDGE IN 1967.” “[MOST OF THE VETERANS] DIDN’T WANT TO TALK ABOUT IT,” VAN DEN BROEKE REPLIED WHEN ASKED ABOUT HIS MEMORIES OF HIS FATHER SPEAKING ABOUT HIS EXPERIENCE OF THE WAR, “PROBABLY THE FIRST REAL TIME I GOT INTO THIS WAS WHEN HE WENT AND TOOK GRAMMA TO THE GRAVE TO LAY THE WREATH. HE ESCORTED HER AS HER SON, AND SHE LAID THE WREATH ON BEHALF OF SOUTHERN ALBERTA. I WAS THERE FOR THAT CEREMONY, AND [I RECALL BEING] QUITE TAKEN BACK BY THE WAY THOSE GUYS COULD SALUTE. IT WAS THE FIRST TIME I’D SEEN MY FATHER DO IT, AND IT ALMOST RAISED THE HAIR ON YOUR NECK BECAUSE IT WAS SO PRECISE. SO THAT’S WHEN I STARTED TAKING AN INTEREST IN THIS STUFF.” “[EVEN AFTER I TOOK AN INTEREST IN THAT HISTORY, MY DAD DID NOT REALLY SPEAK MUCH ABOUT IT.] THERE WASN’T A LOT HAPPENED ON THE WEST COAST [WHERE HE WAS STATIONED AT PRINCE RUPERT]. THEY WERE SITTING UP THERE WAITING F0R THE JAPANESE TO INVADE AND THEY HAD ALL THE GUNS OUT ON THE WEST COAST, BUT IT NEVER CAME TO BE,” VAN DEN BROEKE STATED.” WHEN ASKED WHY HIS FATHER DID NOT GO OVERSEAS, VAN DEN BROEKE SPECULATED, “PROBABLY BECAUSE HE WASN’T CONSCRIPTED UNTIL ’43. AT THAT POINT THEY THOUGHT THE JAPANESE WERE [A LARGE THREAT]. THEY PROBABLY ATTACKED PEARL HARBOR BY THEN, I WOULD IMAGINE. THAT’S WHEN THEY SET UP THE TROOPS ON THE WEST COAST. MY UNCLE WENT IN THE WAR PROBABLY IN ’39 WHEN IT STARTED, SO HE WAS PROBABLY CONSCRIPTED AND SENT OVERSEAS, AND THAT’S HOW HE ENDED UP IN ITALY.” “[MY UNCLE] HE WASN’T [MARRIED WHEN HE WENT OVERSEAS]. HE WAS 23 [WHEN HE DIED]. SO HE WAS YOUNG, PROBABLY JOINED WHEN HE WAS NINETEEN. THERE WAS A LOT OF PEOPLE AT THAT TIME SAYING, ‘COME ON, JOIN AND LET’S GO FIGHT,’ SO THAT’S WHAT THEY DID,” SAID VAN DEN BROEKE, “HE HAD A SISTER THAT USED TO LIVE IN CUTBANK, MONTANA NAMED RIKA NELSON. SHE HAD TWO OR THREE OR FOUR KIDS, AND THERE IS A PICTURE OF [MY UNCLE] WITH TWO OF HER SONS (ARCHIVES ACCESSION NUMBER 20161102).” “[ON THE OTHER HAND] I THINK MY FATHER WAS ACTUALLY CONSCRIPTED [TO JOIN THE WAR], BECAUSE HE WAS QUITE A BIT OLDER AND WHEN HE GOT INTO THE ARMY HE WOULD HAVE BEEN [AROUND HIS MID TO LATE THIRTIES].” “I WOULD SAY MY MOTHER [WAS THE PERSON MOST AWARE OF THESE ARTIFACTS OTHER THAN MY FATHER],” VAN DEN BROEKE CONTINUED, “PROBABLY THE FIRST TIME I’D SEEN IT [WAS AFTER] MY DAD PASSED AWAY IN ’67. [WHEN] I WAS ONLY NINETEEN, HE WAS IN A FIRE AT PARK LAKE. HE WAS THE WARDEN AT THE PARK LAKE PROVINCIAL PARK AND A GARAGE BLEW UP AND HE DIED JANUARY 1ST, 1968. SO AT THAT POINT MY MOTHER AND I MOVED FROM PARK LAKE TO PICTURE BUTTE. [I RECEIVED THE ITEMS] WHEN MY MOTHER PASSED AWAY IN ABOUT 1992.” SPEAKING ABOUT HIS FATHER’S EARLIER LIFE, VAN DEN BROEKE SAID, “HE WAS BORN IN HELLENDOORN, HOLLAND IN 1905 ON JANUARY 30TH. HE EMIGRATED TO MONARCH WITH HIS FATHER IN 1911. HIS FATHER WAS A BLACKSMITH IN MONARCH. PROBABLY ABOUT TWENTY-FIVE OR THIRTY [DUTCH IMMIGRANTS WERE HERE WHEN MY DAD’S FAMILY ARRIVED] AND THEY ALL SETTLED IN MONARCH. THAT’S WHY YOU HAVE THAT LITTLE CHURCH OUT THERE IN THE COUNTRYSIDE AT MONARCH. THAT WAS PART OF THEIR CHURCH, ALL MY AUNTS AND UNCLES, AND THEY’RE BURIED IN THE MONARCH/NOBLEFORD CEMETERY.” “[THE DUTCH CONNECTION IS] VERY INTERESTING BECAUSE ROELOF HEINEN USED TO BE REEVE FOR THE COUNTY OF LETHBRIDGE WHEN THEY HAD THAT DUTCH, THEY HAD SOME KIND OF A DUTCH APPRECIATION DAY IN PICTURE BUTTE ABOUT TWENTY-FIVE YEARS AGO. ROELOF TOOK THAT LETTER THAT I GOT FROM THE LIEUTENANT AND HE WAS GOING TO READ IT AT THAT APPRECIATION DAY, BUT THE PROGRAM GOT TOO LONG AND HE NEVER GOT TO IT,” VAN DEN BROEKE RECALLED AS HE SPOKE OF THE SIGNIFICANCE OF HIS FAMILY’S DUTCH BACKGROUND IN CONNECTION TO THE SECOND WORLD WAR, “[MY UNCLE BEING A DUTCH IMMIGRANT FIGHTING WITH THE CANADIAN MILITARY] WAS QUITE UNIQUE. HE WAS FIGHTING FOR CANADA, [AND HE WAS] BORN IN CANADA, BUT WITH A DUTCH NAME AND HE WAS KILLED IN ITALY. HE’S THE ONLY ONE THAT DIED FROM THE MONARCH/NOBLEFORD AREA THAT WENT TO FIGHT, ACCORDING TO THE HISTORY BOOKS FROM THE AREA. AS HIS UNCLE WAS KILLED IN ACTION DURING THE SECOND WORLD WAR, VAN DEN BROEKE HAS SPECIFIC MEMORIES OF HIS FAMILY’S EXPERIENCE OF THE REMEMBRANCE DAYS AFTER THE WAR. HE SAID, “YEARS AGO I SENT THEIR PICTURES BOTH INTO THE HERALD WHEN THEY FIRST STARTED THAT REMEMBRANCE DAY [PUBLICATION]. I SENT BOTH THEIR PICTURES AND THEY’VE BEEN IN THE HERALD. [AND THAT’S WHY I WAS REMINDED TO DONATE THESE ITEMS TO THE MUSEUM] RIGHT NOW, AS WE JUST HAVE A WEEK TO GO [UNTIL REMEMBRANCE DAY].” AN ONLINE RECORD FOR THE DONOR’S UNCLE, MARTIN CORNELIUS VAN DEN BROEKE FROM THE UNIVERSITY OF LETHBRIDGE ARCHIVES DATABASE TITLED, “LETHBRIDGE CENOTAPH,” READS, “MARTIN VAN DEN BROEKE WAS BORN ON JULY 12, 1921 IN MONARCH, ALBERTA TO PARENTS GERHARD AND JOHANNA VAN DEN BROEKE. HE WAS RAISED AND EDUCATED IN MONARCH WITH SIBLINGS, GERRIT AND RIKA… AT THE TIME OF ENLISTMENT, HE WAS SINGLE AND WORKING FOR HIS FATHER AS AN APPRENTICE BLACKSMITH. ON DECEMBER 22, 1942, MARTIN VAN DEN BROEKE ENLISTED FOR SERVICE WITH THE CANADIAN ARMY AT CALGARY. HE SPENT THE NEXT NINE MONTHS TRAINING AT CALGARY, CAMROSE, AND WINDSOR, NOVA SCOTIA. ON SEPTEMBER 1, 1943, SERGEANT VAN DEN BROEKE ARRIVED IN THE UNITED KINGDOM. JUST TWO MONTHS LATER, HE WAS SENT TO ITALY WHERE HE WAS TAKEN ON STRENGTH BY THE CAPE BRETON HIGHLANDERS. SERGEANT VAN DEN BROEKE WAS INCLUDED IN COMBAT OPERATIONS WITH THIS UNIT AS THE ALLIED FORCES MADE THEIR MARCH ACROSS ITALY. ON DECEMBER 13, 1944, SERGEANT VAN DEN BROEKE WAS KILLED IN ACTION DURING THE BREAKING OF THE GOTHIC LINE. HE WAS LAID TO REST AT VILLANOVA CANADIAN WAR CEMETERY. FOR HIS WARTIME SERVICE, SERGEANT VAN DEN BROEKE WAS AWARDED THE 1939-45 STAR, ITALY STAR, WAR MEDAL AND CANADIAN VOLUNTEER SERVICE MEDAL WITH CLASP. HIS MOTHER RECEIVED A MEMORIAL CROSS IN HONOUR OF HER SON.” A LETTER PROVIDED BY THE DONOR FROM THE COMMONWEALTH WAR GRAVES COMMISSION STATES, “M 105808 SERGEANT MARTIN CORNELIUS VAN DEN BROEKE OF THE CAPE BRETON HIGHLANDERS, CANADIAN INFANTRY CORPS DIED ON 13 DECEMBER 1944 AT AGE 23. HE IS BURIED IN THE VILLANOVA CANADIAN WAR CEMETERY, ITALY IN PLOT 7, ROW B, GRAVE 5.” ACCODING TO THE WEBSITE OF VETERANS AFFAIRS CANADA ON THE VILLANOVA CANADIAN WAR CEMETERY IN ITALY, THE CANADIAN 5TH ARMOURED DIVISION, WHICH INCLUDED THE CAPE BRETON HIGHLANDERS AND NOVA SCOTIA HIGHLANDERS, ESTABLISHED A BRIDGEHEAD OVER THE LAMONE RIVER ON DECEMBER 10-11, 1944. THE 5TH CANADIAN ARMOURED DIVISION PARTICIPATED IN LIBERATING THE ITALIAN PROVINCE OF RAVENNA, INCLUDING THE VILLAGE OF VILLANOVA, IN DECEMBER 1944. AS STATED ON THE VETERANS AFFAIRS WEBSITE ON THE VILLANOVA CEMETERY, “THE ADVANCE ACROSS THE LAMONE NEAR VILLANOVA WENT WELL. THE CAPE BRETON HIGHLANDERS WERE QUICKLY OVER THE DYKE AND IN THE VILLAGE, WITH 43 PRISONERS CAPTURED…THE NAVIGLIO CANAL WAS THE NEXT CANADIAN OBJECTIVE, AND THE ASSAULT BEGAN THE NIGHT OF DECEMBER 12…ENEMY FIRE PREVENTED THE RESERVE SQUADRONS FROM EVEN APPROACHING THE CANAL. TO MAKE MATTERS WORSE, AIR SUPPORT WAS UNAVAILABLE DUE TO POOR VISIBILITY AND THE TANKS WERE UNABLE TO REACH THIS SECTION. IN THAT ONE NIGHT'S ACTION, 21 OF THE REGIMENT WERE KILLED AND 46 CAPTURED…THE SITUATION WOULD IMPROVE IN A MATTER OF DAYS, WHEN AIR AND TANK SUPPORT BECAME AVAILABLE.” A LETHBRIDGE HERALD ARTICLE WAS PUBLISHED ABOUT THE DEATH OF THE YOUNGER VAN DEN BROEKE. IT STATES, “HE IS THE FIRST SERVICEMAN FROM MONARCH TO MAKE THE SUPREME SACRIFICE.” ARTICLES WERE ALSO PUBLISHED IN THE NEWSPAPER ABOUT PREVIOUS INJURIES MARTIN VAN DEN BROEKE SUSTAINED IN COMBAT. A NOTICE PUBLISHED IN THE HERALD STATES, “SON OF GEO. VAN DEN BROEKE OF MONARCH, GUNNER A. J. VAN DEN BROEKE, WHO IS SERVING WITH A BATTERY STATIONED AT THE WEST COAST. HE HAS A WIFE AND AN INFANT DAUGHTER, CHRISTINE LOUISE, RESIDED AT MONARCH, ALTA., ALSO A BROTHER OVERSEAS…” THE OBITUARY OF THE DONOR’S FATHER WAS PUBLISHED IN THE LETHBRIDGE HERALD. IT READS, “PASSED AWAY IN SUDDENLY IN THE CITY ON MONDAY, JAN. 1, [1968], GEORGE JOHN “GERRIT”, AGED 62 YEARS, BELOVED HUSBAND OF MRS. CHRISTINA VAN DEN BROEKE OF COALHURST. BESIDES HIS LOVING WIFE, SURVIVORS INCLUDE TWO SONS, GEORGE JOHN OF COALHURST, AND HENRY MARTIN OF RED DEER; ONE DAUGHTER, MRS. WALTER CHRISTINE LOUISE DUNN OF TURIN; ONE SISTER, RIKA NILSON… HIS STEPMOTHER MRS. JOHANNA VAN DEN BROEKE. THE LATE MR. VAN DEN BROEKE WAS BORN IN HOLLAND IN 1905 AND WAS RAISED AND EDUCATED IN MONARCH.” ACCORDING TO HIS SERVICE FILE, OBTAINED FROM THE LIBRARY AND ARCHIVES OF CANADA, GEORGE VAN DEN BROEKE ENLISTED ON NOVEMBER 6, 1942 UNDER THE NATIONAL RESOURCES MOBILIZATION ACT OF 1940. VAN DEN BROEKE WAS LISTED AS BEING A TRUCK DRIVER AT THE TIME OF HIS ENLISTMENT. VAN DEN BROEKE WAS STATIONED AS A GUNNER FIRST AT ESQUIMALT, BRITISH COLUMBIA, THEN AT VANCOUVER, BRITISH COLUMBIA IN 1943 WITH THE 27, 28, AND 29TH REGIMENTS OF THE 44 AA BATTERY. GEORGE VAN DEN BROEKE WAS DISCHARGED ON MARCH 7, 1946 ON DEMOBILIZATION. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, GEORGE VAN DEN BROEKE'S SERVICE FILE, AND ARCHIVAL RESEARCH (UOFL ARCHIVES RECORD, COMMONWEALTH WAR GRAVES COMMISSION LETTER, AND LETHBRIDGE HERALD ARTICLES).
Catalogue Number
P20160038003
Acquisition Date
2016-11
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
1916
Date Range To
1920
Material Type
Artifact
Materials
IRON, STEEL
Catalogue Number
P20170034002
  2 images  
Material Type
Artifact
Date Range From
1916
Date Range To
1920
Materials
IRON, STEEL
No. Pieces
1
Height
1.3
Diameter
2
Description
IRON RING WITH WIDE BLANK SQUARE FRONT. RING HAS NO MARKING ON FRONT OR INSIDE. RING BAND WIDENS AT SQUARE FRONT AND NARROWS INTO BAND. RING IS TARNISHED ON INSIDE AND OUTSIDE OF BAND; OVERALL VERY GOOD CONDITION.
Subjects
ADORNMENT
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. ON THE RING, BERLANDO RECALLED, “[THEY WERE FASHIONED FROM A BELL IN FRANCE OR BELGIUM] I HAVE NO IDEA…HOW THEY BECAME IN HIS POSSESSION. BUT TO HIM, HE MUST HAVE TREASURED THEM BECAUSE HE KNEW OF THE CHURCH THAT WAS BOMBED AND THE BELL THAT IT CAME FROM…WHEN HE GAVE THEM 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 RING 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 RING 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. IN 1916, THE CARENCY CHURCH’S STEEPLE FELL FROM GERMAN GUN-FIRE. THE BELL FROM THE STEEPLE WAS RELATIVELY UNDAMAGED, AND MOVED TO BE BURIED IN VILLERS A ROIS FOR SAFETY. THE ARTILLERY BRIGADE OF THE 61ST BATTERY ARRIVED IN CARENCY, WHERE AMONGST THE CHURCH DEBRIS FRAGMENTS OF THE BELL WERE RETRIVED BY LETHBRIDGE FORCES. THE BATTERY FARRIER FASHIONED THE FRAGMENTS INTO SOUVENIRS THAT SOLDIERS RETURNED TO LETHBRIDGE WITH, INCLUDING GLADSTONE VIRTUE, WHO RETURNED TO LETHBRIDGE WITH A RING. AN ARTICLE FROM THE LETHBRIDGE HERALD PUBLISHED MARCH 24, 1931 ON THE FRONT PAGE REFERENCED "LIEUT. A.G. VIRTUE, WHO WAS IN CHARGE OF THE 61ST [ALBERTA BATTALION] WHEN IT WAS DEMOBILIZED, HAS ONE OF THE RINGS MADE FROM FRAGMENTS OF THE FAMOUS [CARENCY] BELL, SHOT FROM THE STEEPLE OF THE CHURCH BY GERMAN SHELL FIRE AND SHATTERED." VIRTUE RESUMED HIS LAW PRACTICE IN LETHBRIDGE FOLLOWING HIS RETUN FROM WAR, AND BECAME A SENIOR PARTNER IN THE FIRM OF VIRTUE, RUSSELL, MORGAN AND VIRTUE. THE BELL OF CARENCY CHURCH WAS RETRIEVED BY THE PARIS MUNICIPAL COUNCIL IN 1931, AND RETURNED TO THE CARENCY CHURCH. 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
P20170034002
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010013
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
18.7
Length
23.9
Description
WATERCOLOUR ON PAPER PAINTING THAT DEPICTS SCENE OF FIELD WITH FENCES STRETCHING HORIZONTALLY ACROSS THE IMAGE. GUARD TOWER AND WATER TOWER ON THE LEFT SIDE OF THE IMAGE. HOUSES AMOUNG BUSHES. MOUNTAINS IN DISTANT BACKGROUND. THE WORK IS TITLED "LETHBRIDGE, KANADA," IN THE BOTTOM LEFT CORNER. THE BACK IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER. SLIGHT FOXING OVERALL. WRINKLE ON BACK RIGHT EDGE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA" DEPICTS THAT CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010013
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. 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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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. BETWEEN 22 AND 24 JANUARY 2020, UNIVERSITY OF LETHBRIDGE PREPARATOR/ASSISTANT CURATOR DAVID SMITH MOUNTED THIS DRAWING IN AN ACID-FREE, LINEN-HINGED MAT. THE WORK WAS FIXED TO THE MAT BY MEANS OF REVERSIBLE JAPANESE PAPER HINGES TREATED WITH WHEAT STARCH PASTE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA; 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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. 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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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. BETWEEN 22 AND 24 JANUARY 2020, UNIVERSITY OF LETHBRIDGE PREPARATOR/ASSISTANT CURATOR DAVID SMITH MOUNTED THIS DRAWING IN AN ACID-FREE, LINEN-HINGED MAT. THE WORK WAS FIXED TO THE MAT BY MEANS OF REVERSIBLE JAPANESE PAPER HINGES TREATED WITH WHEAT STARCH PASTE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED, "LETHBRIDGE, KANADA, 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 P.O.W. 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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 P.O.W. 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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. 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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010023
Acquisition Date
2016-01
Collection
Museum
Images
Less detail

66 records – page 1 of 4.