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Other Name
GICLEE ON PAPER
Material Type
Artifact
Materials
PAPER
Catalogue Number
P20150010025
  1 image  
Material Type
Artifact
Other Name
GICLEE ON PAPER
Date
2012
Materials
PAPER
No. Pieces
1
Length
80.5
Width
53.3
Description
GICLEE PRINT ON PAPER. TITLED "THE BRIGADE - A TRADITION OF SERVICE". IN THE TOP CENTRE: "LETHBRIDGE FIRE & EMERGENCY SERVICES - FIRE SINCE 1886 - EMS SINCE 1912", WITH THE LETTERING OF "LETHBRIDGE" BEING YELLOW AND BLUE, WITH IMAGES OF THE HIGH LEVEL BRIDGE; "FIRE & EMERGENCY SERVICES" IS IN RED; AND THE "FIRE SINCE 1886" AND "EMS SINCE 1912" IN BROWN. THICK WHITE PAPER. VARIOUS FIRE AND EMERGENCY SERVICES SCENES. STARTING TOP RIGHT, WORKING CLOCKWISE AROUND TO THE LEFT, COVERING SEVEN SCENES: TWO PARAMEDICS WORKING ON A PATIENT IN THE BACK OF AN AMBULANCE, IN FULL COLOUR; TWO FIREMEN WORKING ON A GRASS FIRE, WITH HOUSES IN THE BACKGROUND, IN FULL COLOUR; TWO MEN IN UNIFORM, STANDING IN FRONT OF THE "AMBULANCE GALT HOPSITAL", DATED 1917, IN BROWN; "FIRE HALL NO. 1, 1920" WITH THREE FIRE TRUCKS UNDER THE ARCHES OF THE FIRE HALL, SEVERAL FIREMEN STANDING NEAR THE TRUCKS, IN BROWN; THREE FIREMEN IN A FIRE TRUCK, WITH A FOURTH STANDING IN FRONT, DATED "CIRCA 1930", IN BROWN; BACK OF A FIREMEN, HAULING A HOSE TO A HOSE FIRE, WITH A RED "FIRE EMS" CREST BESIDE, IN FULL COLOUR; FIREMEN HONOUR GUARD, FULL DRESS UNIFORM, WITH TWO FLAGS, IN FULL COLOUR. IN THE CENTRE OF THE IMAGE, WORKING DOWN, THERE ARE THREE MORE SCENES: THE MODERN "FIRE HEADQUARTERS STATION 1" AT 4 AVE, IN FULL COLOUR; A RED FIRE TRUCK ON THE LEFT AND A WHITE AND RED FIRE/EMS AMBULANCE, IN FULL COLOUR; AND FINALLY TWO FIREMEN IN FULL FACE MASKS, IN FULL COLOUR. SIGNED BY THE ARTIST IN THE BOTTOM RIGHT CORNER: "LEON KEEPING 2012". BOTTOM LEFT CORNER "54/300" TO INDICATE THE PRINT NUMBER.
Subjects
ART
Historical Association
SAFETY SERVICES
COMMEMORATIVE
FINE ARTS
History
THIS GICLEE WAS CREATED BY LEON KEEPING ON JUNE 11, 2012 AND IS EDITION NUMBER 54 OF AN EDITION SIZE OF 300. ACCORDING TO A DOCUMENT, CREATED BY DANA TERRY, DEPUTY CHIEF – FIRE AND EMS OPERATIONS, LETHBRIDGE FIRE AND EMERGENCY SERVICES IN JUNE 2012, IT WAS CREATED TO CELEBRATE THE 100TH ANNIVERSARY OF THE LETHBRIDGE FIRE DEPARTMENT’S “ROLE AS AN INTEGRATED EMS SERVICE AND ALSO MARKS THE DEPARTMENT’S 126TH YEAR PROVIDING FIRE SUPPRESSION.” THIS DOCUMENT HIGHLIGHTS SOME OF THE HISTORY OF THE LETHBRIDGE FIRE DEPARTMENT, EXPLAINING THAT “IN 1886 [AS] THE LETHBRIDGE FIRE BRIGADE (LATER CHANGED TO ‘DEPARTMENT’ IN 1914) [BEGAN] TO OPERATE AS A VOLUNTEER ‘BUCKET BRIGADE’. IN 1909 IT BECAUSE A FULL TIME FIRE DEPARTMENT WITH TEN MEMBERS; SEVEN FIREFIGHTERS, A LIEUTENANT, A CAPTAIN, AND THE CHIEF.” THE DOCUMENT ALSO SPELLS OUT THE CREATION OF AMBULANCE SERVICES IN LETHBRIDGE: “PRIOR TO 1912 THE GALT HOSPITAL PROVIDED AMBULANCE SERVICES TO THE COMMUNITY OF LETHBRIDGE. THE OPERATION OF THE AMBULANCE SERVICE BECAME A COMMUNITY CONCERN DUE TO EXTENDED RESPONSE TIMES BECAUSE OF THE NEED OF A DOCTOR’S CERTIFICATE TO TRANSPORT A PATIENT. THE DEATH OF JOE BIRNEY IN 1910 AT ELLISON MILLING COMPANY BROUGHT THIS TO A HEAD AND ON JUNE 22, 1912 CITY LEADERS DECIDED TO PASS THE AMBULANCE SERVICE TO THE FIRE DEPARTMENT BECAUSE IT WAS THOUGHT THEY WOULD BE ABLE TO PROVIDE RELIABLE AND TIMELY RESPONSE.” SEE PERMANENT FILE FOR ADDITIONAL INFORMATION AND THE CERTIFICATE OF AUTHENTICITY.
Catalogue Number
P20150010025
Acquisition Date
2015-02
Collection
Museum
Images
Less detail
Other Name
THE NARROWS, WATERTON LAKES
Date Range From
1952
Date Range To
1952
Material Type
Artifact
Materials
WATERCOLOUR, WOOD,GLASS
Catalogue Number
P20150024000
  1 image  
Material Type
Artifact
Other Name
THE NARROWS, WATERTON LAKES
Date Range From
1952
Date Range To
1952
Materials
WATERCOLOUR, WOOD,GLASS
No. Pieces
1
Height
55.7
Length
68.0
Width
3.5
Description
LANDSCAPE WATERCOLOUR, SET BEHIND GLASS IN BLONDE WOODEN FRAME WITH OFF-WHITE MATTING. DIMESIONS PROVIDED ARE OF FRAME. LANDSCAPE ORIENTATION. WATERCOLOUR FEATURES TWO PEOPLE IN FOREGROUND ON BEACH AT THE NARROWS IN WATERTON. BACKGROUND RIGHT IS MOUNTAINS, WHILE BACKGROUND LEFT IS MOSTLY CLOUDS. SIGNED BY ARTIST BOTTOM RIGHT HAND CORNER "E.E. RIETHMAN" IN BLUE. REVERSE OF FRAME "THE NARROWS - WATERTON LAKES". METAL WIRE ON REVERSE FOR HANGING.EXCELLENT CONDITION. FRAME SHOWS SOME WEAR, ESPECIALLY ON THE CORNERS.
Subjects
ART
Historical Association
FINE ARTS
History
THE DONOR, ALEXANDRA KNORR, ACQUIRED THIS WORK AT A GARAGE SALE, PRESUMED TO HAVE BEEN IN SOUTH LETHBRIDGE, APPROXIMATELY 3-4 YEARS AGO (APPROXIMATELY 2011-2012). KNORR HAS NO RECOLLECTION OF THE AMOUNT OF MONEY SHE PAID FOR THE WORK, AND IN FACT PURCHASED THE WORK BECAUSE SHE WANTED THE FRAME, NOT THE PAINTING ITSELF. KNORR HAS NO CONNECTION TO THE SUBJECT, TO THE ARTIST, NOR TO ANY PREVIOUS OWNERS. ACCORDING TO A LETHBRIDGE HERALD ARTICLE, PUBLISHED DECEMBER 11, 1952, RIETHMAN EXHIBITED THIS PIECE DURING THE THREE-DAY LETHBRIDGE SKETCH CLUB ANNUAL ART EXHIBIT: "THOSE WHO ATTEND THE EXHIBITION WILL RECOGNIZE MANY SOUTHERN ALBERTA SCNESE, ESPECIALLY LANDSCAPS, AMONG SUCH PICTURES AS ... 'THE NARROWS, WATERTON' AND 'MORNING-HENDERSON LAKE' BY E. E. RIETHMAN. ... EVERY PERSON WHO ATTENDS THE EXHIBITION WILL HAVE A CHANCE AT WINNING A LANDSCAPE PAINTING BY MR. RIETHMAN, WHICH WILL BE DRAWN FOR AT THE END OF THE EXHIBIT." THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007. ERNEST RIETHMAN WAS BORN IN 1895 IN SWITZERLAND AND STUDIED ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA AND SETTLED IN LETHBRIDGE IN 1947. A PARTNER IN THE FIRM OF RIETHMAN AND HUDSON DECORATING LTD, RIETHMAN WAS ALSO A MEMBER OF THE LETHBRIDGE SKETCH CLUB FOR MANY YEARS AND TAUGHT ART CLASSES THROUGHOUT SOUTHERN ALBERTA. HE PAINTED IN OILS AND WATERCOLOURS AND ONE OF HIS WORKS WAS SELECTED FOR THE CANADIAN NATIONAL EXHIBITION IN TORONTO, LATER TRAVELLING TO MUNICH AND OTHER EUROPEAN VENUES. RIETHMAN PASSED AWAY SUDDENLY ON DECEMBER 23, 1964. SEE PERMANENT FILE FOR A HARDCOPY OF THE NEWSPAPER ARTICLE AND FOR AN EXHIBIT CATALOGUE FROM A RIETHMAN SHOW INSTALLED AT THE SOUTHERN ALBERTA ART GALLERY IN 1987. THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” FOR PREVIOUS DONATIONS OF RIETHMAN’S WORK, SEE P19705197000 AND P20120030007. FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20150024000
Acquisition Date
2015-09
Collection
Museum
Images
Less detail
Other Name
IN MEMORY OF A PLEASANT DAY, ATLIN, B.C. - EDITH KIRK
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
PAPER, WOOD, METAL
Catalogue Number
P20150029000
  1 image  
Material Type
Artifact
Other Name
IN MEMORY OF A PLEASANT DAY, ATLIN, B.C. - EDITH KIRK
Date Range From
1900
Date Range To
1910
Materials
PAPER, WOOD, METAL
No. Pieces
1
Height
46.2
Length
33.5
Width
3.8
Description
WATERCOLOUR ON PAPER, FRAMED. WOODEN FRAME, FINISHED WITH SUBDUED GOLD COLOURED PAINT. OFF-WHITE MATTING. BEHIND GLASS. HORIZONTAL ORIENTATION. FOREGROUND RIGHT IS A GREY ROCK FORMATION, WITH SOME SHRUBS GROWING ON IT. FOREGROUND LEFT, TAKING UP LEFT SIDE OF PAINTING, IS A GREEN-LEAFED TREE. BEHIND THE ROCK AND TREE IS A BODY OF WATER, WITH A SAILBOAT, RIGHT BACKGROUND. BEHIND THE SAILBOAT IS A MOUNTAIN. "IN MEMORY OF A PLEASANT DAY, ATLIN, B.C." AND ARTIST SIGNATURE "E. F. KIRK" BOTTOM LEFT CORNER. REVERSE OF PAINTING HAS A STICKER BOTTOM LEFT: "ALEX FRASER GALLERIES 5669 GRANVILLE STREET, VANCOUVER 13, B.C. - KERR. 7545. ORIGINAL PAINTINGS, MODERN FRENCH REPRODUCTIONS, VALUATIONS, CLEANING, RESTORING, FRAMING. ALEX FRASER, FORMERLY OF BOND STREET, LONDON, ENGLAND." HANDWRITTEN IN PENCIL BESIDE THIS STICKER "MISS EDITH FANNY KIRK". METAL WIRE FOR HANGING ON BACK AS WELL. IN EXCELLENT CONDITION. FRAME SHOWS SOME WEAR, ESPECIALLY ON THE CORNERS AND EDGES. SMALL GAP AT TOP LEFT, WHERE PAINTING HAS COME AWAY FROM MATTING.
Subjects
ART
Historical Association
FINE ARTS
History
THIS PAINTING WAS DONATED BY GARY SIM, WHO CAME INTO POSSESSION OF THE PAINTING THROUGH TED PAPPAS, OF WESTCOAST ESTATES AUCTIONS (WHICH IS NO LONGER IN BUSINESS). SIM WROTE IN AN EMAIL TO WENDY AITKENS THAT “TED KNOWS THAT I’M INTERESTED IN EARLY VANCOUVER AND BC ART, AND OFFERED THEM [THREE WORKS BY KIRK, INCLUDING THIS ONE] TO ME DIRECTLY. I DO NOT KNOW WHERE THEY CAME FROM. TED UNFRAMED TWO OF THEM, LEAVING THE ATLIN PAINTING IN ITS (ORIGINAL) FRAME.” THE FOLLOWING BIOGRAPHICAL INFORMATION ON EDITH KIRK, THE ARTIST, WAS DEVELOPED BY GALT CURATOR WENDY AITKENS IN PREPARATION FOR THE 2015 KIRK EXHIBIT AT THE GALT MUSEUM: "FOR 35 YEARS, LETHBRIDGE WAS THE HOME OF AN ACCOMPLISHED AND WELL KNOWN ARTIST AND ART TEACHER. EDITH FANNY KIRK, OR MISS KIRK AS MOST PEOPLE CALLED HER, CREATED WATERCOLOUR LANDSCAPES OF ENGLAND, VANCOUVER, LETHBRIDGE, WATERTON, BANFF, AND JASPER. SHE TAUGHT MANY CHILDREN AND ADULTS THE SKILLS OF PAINTING. SHE ALSO SPOKE AT THE MATHESIS CLUB PRESENTING PAPERS ON THE DEVELOPMENT OF MODERN ART, THE EVOLUTION OF ART AND ART APPRECIATION. JOAN STEBBINS, PAST CURATOR AT THE SAAG, CREDITS THE INFLUENCE OF KIRK FOR THE DEVELOPMENT OF THE LETHBRIDGE SKETCH (NOW ARTISTS') CLUB IN THE 1930S. WHEN KIRK ARRIVED IN LETHBRIDGE IN 1918, SHE WAS 60 YEARS OLD. SHE WAS BORN IN 1858 AND WAS RAISED IN YORKSHIRE, ENGLAND. HER MOTHER, FANNY (NEE MAUGHAM) PASSED AWAY WHEN EDITH WAS A YOUNG GIRL AND HER FATHER REMARRIED. THE STORY, FROM SECOND HAND SOURCES, WAS THAT SHE AND HER STEP MOTHER DID NOT LIKE ONE ANOTHER. THIS PROVIDED TO BE A BLESSING IN DISGUISE BECAUSE KIRK WAS SENT AWAY TO STUDY ART AND SHE STUDIED IN SOUTH KENSINGTON, LONDON, AND PARIS. DURING HER SUMMERS SHE JOINED ARTIST'S COLONIES IN CORNWALL, WALES, AND YORKSHIRE. KIRK WROTE OF IMPRESSIONIST PAUL CEZANNE BEING HER "MODEL AND INSPIRATION" AND SHE GREATLY ADMIRED ROMANTIC ARTIST JOHN SELL COTMAN. KIRK NEVER MARRIED AND IMMIGRATED TO CANADA AT THE AGE OF 46. SHE ARRIVED IN HALIFAX ABOARD THE HMS CANADA IN APRIL 1905. THE PASSENGER LIST INDICATED SHE WAS TRAVELING ON TO VANCOUVER AND HER OCCUPATION WAS LISTED AS A GOVERNESS. IT SEEMS SHE DIDN'T STAY LONG IN VANCOUVER BUT SOON TRAVELLED TO ATLIN, B.C. TO GET TO ATLIN, KIRK WOULD HAVE TAKEN A SHIP TO SKAGWAY, THE WHITE PASS RAILWAY TO CARCROSS AND THEN AN OVERLAND AND BOAT TRIP TO ATLIN. IT IS A MYSTERY WHY SHE CHOSE TO GO TO A REMOTE GOLD RUSH TOWN IN NORTH WESTERN BRITISH COLUMBIA. BY 1911 KIRK IS BOARDING WITH THE WOODS FAMILY IN LILLOOET, B.C. NORTHWEST OF KAMLOOPS, WHERE SHE WORKED AS A PUBLIC SCHOOL TEACHER. SEVEN YEARS LATER KIRK IS IN LETHBRIDGE. IT SEEMS SHE KNEW PEOPLE LIVING IN TABER, INCLUDING DR. ALFRED HAMMAN AND HIS SISTER MRS. SYLVIA GIDMAN, WHO CAME FROM HER HOMELAND IN ENGLAND SO CHOSE TO VISIT. THE CHARM OF THE PRAIRIES AND MOUNTAIN LANDSCAPES OF SOUTHERN ALBERTA ENTICED HER TO STAY. KIRK LIVED IN THE VICTORIA MANSION AND THE TRAVELLER'S AID SOCIETY BUILDING AND SHE TAUGHT ART CLASSES AT THE YMCA FOR A FEW DOLLARS A MONTH." KIRK PASSED AWAY IN LETHBRIDGE IN 1953. FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO, "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRCK" BY WENDY AITKENS. ALSO SEE PERMANENT FILE.
Catalogue Number
P20150029000
Acquisition Date
2015-10
Collection
Museum
Images
Less detail
Other Name
CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE - EDITH KIRK
Date Range From
1920
Date Range To
1935
Material Type
Artifact
Materials
PAPER, WOOD, METAL
Catalogue Number
P20150019000
  1 image  
Material Type
Artifact
Other Name
CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE - EDITH KIRK
Date Range From
1920
Date Range To
1935
Materials
PAPER, WOOD, METAL
No. Pieces
1
Height
52.4
Length
42.4
Width
2.5
Description
WATERCOLOUR ON PAPER. WOOD FRAME, PAINTED GOLD. TAN/PINK AND OFF-WHITE MATTINGS. BEHIND GLASS. VERTICAL ORIENTATION. CASTLE MOUNTAIN IN BACKGROUND, ROUGHLY CENTRE. LARGE PINE TREES IN FOREGROUND RIGHT SIDE. SMALLER PINE TREES MIDGROUND LEFT SIDE. NO SIGNATURE VISIBLE. HANDWRITTEN IN PENCIL ON BACK OF FRAME: "CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE". BROWN STICKER WITH GOLD WRITING BOTTOM RIGHT CORNER: "THE FRAMEMAKERS. PHONE 329-4710 LETHBRIDGE - ALBERTA" IN EXCELLENT CONDITION. ONLY MINOR WEAR TO FRAME.
Subjects
ART
Historical Association
FINE ARTS
History
THIS PAINTING WAS DONATED BY BARB ROYCROFT. EDITH KIRK GAVE IT TO HER STUDENT, THOMAS WILLIAM ROYCROFT, (DONOR'S FATHER-IN-LAW) IN THE 1930S. ACCORDING TO "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRK", "THOMAS (TOM) W. ROYCROFT STUDIED WITH MISS KIRK FOR ABOUT FOUR YEARS (APPROXIMATELY 1926-1930) AFTER STUDYING COMMERCIAL ART AND ILLUSTRATION THROUGH A CORRESPONDENCE COURSE. TOM LEFT EVIDENCE THAT HE, TOO, COPIED MANY OF MISS KIRK'S OWN PAINTINGS. HE PAINTED, REPAIRED WATCHES, AND DID PASTORAL WORK IN THE LETHBRIDGE CHRISTIAN TABERNACLE. ALTHOUGH HE RARELY SHOWED HIS WORK PUBLICLY, THE ROYCROFT FAMILY VALUES AND ENJOYS HIS PAINTINGS." (P. 62) THE FOLLOWING BIOGRAPHICAL INFORMATION ON EDITH KIRK, THE ARTIST, WAS DEVELOPED BY GALT CURATOR WENDY AITKENS IN PREPARATION FOR THE 2015 KIRK EXHIBIT AT THE GALT MUSEUM: "FOR 35 YEARS, LETHBRIDGE WAS THE HOME OF AN ACCOMPLISHED AND WELL KNOWN ARTIST AND ART TEACHER. EDITH FANNY KIRK, OR MISS KIRK AS MOST PEOPLE CALLED HER, CREATED WATERCOLOUR LANDSCAPES OF ENGLAND, VANCOUVER, LETHBRIDGE, WATERTON, BANFF, AND JASPER. SHE TAUGHT MANY CHILDREN AND ADULTS THE SKILLS OF PAINTING. SHE ALSO SPOKE AT THE MATHESIS CLUB PRESENTING PAPERS ON THE DEVELOPMENT OF MODERN ART, THE EVOLUTION OF ART AND ART APPRECIATION. JOAN STEBBINS, PAST CURATOR AT THE SAAG, CREDITS THE INFLUENCE OF KIRK FOR THE DEVELOPMENT OF THE LETHBRIDGE SKETCH (NOW ARTISTS') CLUB IN THE 1930S. WHEN KIRK ARRIVED IN LETHBRIDGE IN 1918, SHE WAS 60 YEARS OLD. SHE WAS BORN IN 1858 AND WAS RAISED IN YORKSHIRE, ENGLAND. HER MOTHER, FANNY (NEE MAUGHAM) PASSED AWAY WHEN EDITH WAS A YOUNG GIRL AND HER FATHER REMARRIED. THE STORY, FROM SECOND HAND SOURCES, WAS THAT SHE AND HER STEP MOTHER DID NOT LIKE ONE ANOTHER. THIS PROVIDED TO BE A BLESSING IN DISGUISE BECAUSE KIRK WAS SENT AWAY TO STUDY ART AND SHE STUDIED IN SOUTH KENSINGTON, LONDON, AND PARIS. DURING HER SUMMERS SHE JOINED ARTIST'S COLONIES IN CORNWALL, WALES, AND YORKSHIRE. KIRK WROTE OF IMPRESSIONIST PAUL CEZANNE BEING HER "MODEL AND INSPIRATION" AND SHE GREATLY ADMIRED ROMANTIC ARTIST JOHN SELL COTMAN. KIRK NEVER MARRIED AND IMMIGRATED TO CANADA AT THE AGE OF 46. SHE ARRIVED IN HALIFAX ABOARD THE HMS CANADA IN APRIL 1905. THE PASSENGER LIST INDICATED SHE WAS TRAVELING ON TO VANCOUVER AND HER OCCUPATION WAS LISTED AS A GOVERNESS. IT SEEMS SHE DIDN'T STAY LONG IN VANCOUVER BUT SOON TRAVELLED TO ATLIN, B.C. TO GET TO ATLIN, KIRK WOULD HAVE TAKEN A SHIP TO SKAGWAY, THE WHITE PASS RAILWAY TO CARCROSS AND THEN AN OVERLAND AND BOAT TRIP TO ATLIN. IT IS A MYSTERY WHY SHE CHOSE TO GO TO A REMOTE GOLD RUSH TOWN IN NORTH WESTERN BRITISH COLUMBIA. BY 1911 KIRK IS BOARDING WITH THE WOODS FAMILY IN LILLOOET, B.C. NORTHWEST OF KAMLOOPS, WHERE SHE WORKED AS A PUBLIC SCHOOL TEACHER. SEVEN YEARS LATER KIRK IS IN LETHBRIDGE. IT SEEMS SHE KNEW PEOPLE LIVING IN TABER, INCLUDING DR. ALFRED HAMMAN AND HIS SISTER MRS. SYLVIA GIDMAN, WHO CAME FROM HER HOMELAND IN ENGLAND SO CHOSE TO VISIT. THE CHARM OF THE PRAIRIES AND MOUNTAIN LANDSCAPES OF SOUTHERN ALBERTA ENTICED HER TO STAY. KIRK LIVED IN THE VICTORIA MANSION AND THE TRAVELLER'S AID SOCIETY BUILDING AND SHE TAUGHT ART CLASSES AT THE YMCA FOR A FEW DOLLARS A MONTH." KIRK PASSED AWAY IN LETHBRIDGE IN 1953. IN HER BOOK "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRK", WENDY AITKENS SAYS THE FOLLOWING ON PAGE 67: "THIS IS NOT THE MOST FAMILIAR VIEWPOINT OF CASTLE MOUNTAIN IN BANFF NATIONAL PARK. MISS KIRK PAINTED THIS AS SHE SAT ALONG A PATH WHICH LEADS UP TO AN OLD FIRE LOOKOUT SITE ON THE SOUTHEAST SHOULDER OF THE MOUNTAIN AND THIS GAVE HER A UNIQUE PERSPECTIVE." FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO, PAGE 67 "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRK" BY WENDY AITKENS. ALSO SEE PERMANENT FILE.
Catalogue Number
P20150019000
Acquisition Date
2015-01
Collection
Museum
Images
Less detail
Other Name
COLUMBIA RIVER NEAR GOLDEN, BC - EDITH KIRK
Date Range From
1920
Date Range To
1935
Material Type
Artifact
Materials
PAPER, WOOD, METAL
Catalogue Number
P20150030000
  1 image  
Material Type
Artifact
Other Name
COLUMBIA RIVER NEAR GOLDEN, BC - EDITH KIRK
Date Range From
1920
Date Range To
1935
Materials
PAPER, WOOD, METAL
No. Pieces
1
Height
43.8
Length
56.5
Width
2.3
Description
WATERCOLOUR ON PAPER. WOOD FRAME, PAINTED GOLD. TAN AND MAROON MATTINGS. BEHIND GLASS. "CASTLE MOUNTAIN BETWEEN BANFF & LAKE LOUISE" FOREGROUND CENTRE IS A RIVER, MEANDERING THROUGH TREES ON BOTH LEFT AND RIGHT FORE/MID-GROUND. BACKGROUND IS MOUNTAINOUS. LOTS OF GREEN IN PAINTING. SIGNED "E. F. KIRK" BOTTOM LEFT CORNER. ON REVERSE OF PAINTING, ENCAPSULATED IN MYLAR AND TAPED ONTO THE BACK, IS A PIECE OF BOXBOARD, HANDWRITTEN IN BLACK IN: "COLUMBIA RIVER, FLOWING NORTH, AT GOLDEN, B.C." METAL WIRE FOR HANGING ON BACK AS WELL. EXCELLENT CONDITION. MOSTLY ONLY MINOR WEAR ON EDGES OF FRAME, HOWEVER A PIECE OF FRAME IS MISSING IN THE BOTTOM RIGHT CORNER.
Subjects
ART
Historical Association
FINE ARTS
History
THIS PAINTING WAS DONATED BY FRED ROYCROFT. IN A WRITTEN STATEMENT, PROVIDED AT THE TIME OF DONATION, ROYCROFT EXPLAINS HOW THE PAINTING CAME INTO HIS POSSESSION: "MISS KIRK GAVE MY FATHER THE PAINTING. IT HUNG IN OUR HOUSE AS LONG AS I CAN REMEMBER AND MY MOTHER GAVE IT TO ME AFTER HE DIED. I KNOW FEW DETAILS, OTHER THAN THAT DAD WAS ONE OF HER STUDENTS. HE HAD STOPPED PAINTING BY THE TIME I WAS BORN AND ONLY PAINTED ONE OTHER PICTURE, FOR A FRIEND, THAT I KNOW OF. HOWEVER, HE SKETCHED CONSTANTLY, OFTEN DOING PORTRAITS OF OTHER CUSTOMERS IN THE COFFEE SHOP HE FREQUENTED, ON NAPKINS, WHICH HE THREW AWAY." ROYCROFT'S FATHER WAS REV. THOMAS WILLIAM ROYCROFT, WHO WAS MINISTER OF THE CHRISTIAN TABERNACLE, AND WHO PASSED AWAY DECEMBER 20, 1981. SEE PERMANENT FILE FOR HIS OBITUARY. ACCORDING TO "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRK", "THOMAS (TOM) W. ROYCROFT STUDIED WITH MISS KIRK FOR ABOUT FOUR YEARS (APPROXIMATELY 1926-1930) AFTER STUDYING COMMERCIAL ART AND ILLUSTRATION THROUGH A CORRESPONDENCE COURSE. TOM LEFT EVIDENCE THAT HE, TOO, COPIED MANY OF MISS KIRK'S OWN PAINTINGS. HE PAINTED, REPAIRED WATCHES, AND DID PASTORAL WORK IN THE LETHBRIDGE CHRISTIAN TABERNACLE. ALTHOUGH HE RARELY SHOWED HIS WORK PUBLICLY, THE ROYCROFT FAMILY VALUES AND ENJOYS HIS PAINTINGS." (P. 62) THE FOLLOWING BIOGRAPHICAL INFORMATION ON EDITH KIRK, THE ARTIST, WAS DEVELOPED BY GALT CURATOR WENDY AITKENS IN PREPARATION FOR THE 2015 KIRK EXHIBIT AT THE GALT MUSEUM: "FOR 35 YEARS, LETHBRIDGE WAS THE HOME OF AN ACCOMPLISHED AND WELL KNOWN ARTIST AND ART TEACHER. EDITH FANNY KIRK, OR MISS KIRK AS MOST PEOPLE CALLED HER, CREATED WATERCOLOUR LANDSCAPES OF ENGLAND, VANCOUVER, LETHBRIDGE, WATERTON, BANFF, AND JASPER. SHE TAUGHT MANY CHILDREN AND ADULTS THE SKILLS OF PAINTING. SHE ALSO SPOKE AT THE MATHESIS CLUB PRESENTING PAPERS ON THE DEVELOPMENT OF MODERN ART, THE EVOLUTION OF ART AND ART APPRECIATION. JOAN STEBBINS, PAST CURATOR AT THE SAAG, CREDITS THE INFLUENCE OF KIRK FOR THE DEVELOPMENT OF THE LETHBRIDGE SKETCH (NOW ARTISTS') CLUB IN THE 1930S. WHEN KIRK ARRIVED IN LETHBRIDGE IN 1918, SHE WAS 60 YEARS OLD. SHE WAS BORN IN 1858 AND WAS RAISED IN YORKSHIRE, ENGLAND. HER MOTHER, FANNY (NEE MAUGHAM) PASSED AWAY WHEN EDITH WAS A YOUNG GIRL AND HER FATHER REMARRIED. THE STORY, FROM SECOND HAND SOURCES, WAS THAT SHE AND HER STEP MOTHER DID NOT LIKE ONE ANOTHER. THIS PROVIDED TO BE A BLESSING IN DISGUISE BECAUSE KIRK WAS SENT AWAY TO STUDY ART AND SHE STUDIED IN SOUTH KENSINGTON, LONDON, AND PARIS. DURING HER SUMMERS SHE JOINED ARTIST'S COLONIES IN CORNWALL, WALES, AND YORKSHIRE. KIRK WROTE OF IMPRESSIONIST PAUL CEZANNE BEING HER "MODEL AND INSPIRATION" AND SHE GREATLY ADMIRED ROMANTIC ARTIST JOHN SELL COTMAN. KIRK NEVER MARRIED AND IMMIGRATED TO CANADA AT THE AGE OF 46. SHE ARRIVED IN HALIFAX ABOARD THE HMS CANADA IN APRIL 1905. THE PASSENGER LIST INDICATED SHE WAS TRAVELING ON TO VANCOUVER AND HER OCCUPATION WAS LISTED AS A GOVERNESS. IT SEEMS SHE DIDN'T STAY LONG IN VANCOUVER BUT SOON TRAVELLED TO ATLIN, B.C. TO GET TO ATLIN, KIRK WOULD HAVE TAKEN A SHIP TO SKAGWAY, THE WHITE PASS RAILWAY TO CARCROSS AND THEN AN OVERLAND AND BOAT TRIP TO ATLIN. IT IS A MYSTERY WHY SHE CHOSE TO GO TO A REMOTE GOLD RUSH TOWN IN NORTH WESTERN BRITISH COLUMBIA. BY 1911 KIRK IS BOARDING WITH THE WOODS FAMILY IN LILLOOET, B.C. NORTHWEST OF KAMLOOPS, WHERE SHE WORKED AS A PUBLIC SCHOOL TEACHER. SEVEN YEARS LATER KIRK IS IN LETHBRIDGE. IT SEEMS SHE KNEW PEOPLE LIVING IN TABER, INCLUDING DR. ALFRED HAMMAN AND HIS SISTER MRS. SYLVIA GIDMAN, WHO CAME FROM HER HOMELAND IN ENGLAND SO CHOSE TO VISIT. THE CHARM OF THE PRAIRIES AND MOUNTAIN LANDSCAPES OF SOUTHERN ALBERTA ENTICED HER TO STAY. KIRK LIVED IN THE VICTORIA MANSION AND THE TRAVELLER'S AID SOCIETY BUILDING AND SHE TAUGHT ART CLASSES AT THE YMCA FOR A FEW DOLLARS A MONTH." KIRK PASSED AWAY IN LETHBRIDGE IN 1953. FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO, "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRCK" BY WENDY AITKENS, SPECIFICALLY PAGES 60-62. ALSO SEE PERMANENT FILE.
Catalogue Number
P20150030000
Acquisition Date
2015-10
Collection
Museum
Images
Less detail
Other Name
PRISONER OF WAR CAMP OZADA, ALBERTA
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
OIL, BOARD, WOOD
Catalogue Number
P20160007001
  2 images  
Material Type
Artifact
Other Name
PRISONER OF WAR CAMP OZADA, ALBERTA
Date Range From
1942
Date Range To
1946
Materials
OIL, BOARD, WOOD
No. Pieces
1
Height
33.5
Length
28.5
Width
3.0
Description
OIL ON BOARD, FRAMED. WINTER SCENE. UNSIGNED. THREE BROWN CANVAS TENTS IN FOREGROUND. THERE ARE TWO IN A ROW ON THE RIGHT SIDE AND A SINGLE TENT ON THE LEFT SIDE OF THE PAINTING. SMOKE BILLOWS OUT OF THE CHIMNEYS ON THE TWO FRONT TENTS. TO THE LEFT OF THE TWO TENTS IS A CLOTHESLINE, FROM WHICH HANGS TWO BLUE SHIRTS, EACH WITH A LARGE RED CIRCLE, AND A BLUE PAIR OF PANTS. A GUARD TOWER IS VISIBLE, SLIGHTLY LEFT OF CENTRE IN THE NEAR BACKGROUND. THERE IS ALSO A LINE OF PINE TREES ON THIS LINE. BEHIND THE TREES AND TOWER ARE MOUNTAINS. THE SKY IS GREY AND THERE IS SNOW ON THE TENTS. FRAME IS MEDIUM BROWN WOOD, WITH BLACK FLECKS. THE INSIDE PORTION OF THE FRAME, NEXT TO THE PAINTING, IS GOLD COLOURED. ON THE REVERSE OF THE FRAME IS A TYPED NOTE: “PRISONER OF WAR CAMP, OZADA, ALBERTA. PAINTING BY WILLIE MUELLER, A GERMAN INMATE OF THE ABOVE CAMP, WHO, AFTER BEING TRANSFERRED TO MORE PERMANENT QUARTERS AT MEDICINE HAT, BECAME INVOLVED IN THE KILLING OF A FELLOW PRISONER. FOLLOWING HIS CONVICTION FOR MURDER, AND PRIOR TO HIS EXECUTION AT LETHBRIDGE JAIL ON DECEMBER 18TH, 1946, MUELLER MADE A PERSONAL GIFT OF THIS PAINTING TO SERGEANT D.G. ASHBY, THEN IN CHARGE OF THE R.C.M.POLICE AT MEDICINE HAT, ALBERTA.” WIRE FOR HANGING ON REVERSE CONNECTS TO TWO SMALL EYE HOOKS. STAMPED BELOW THE TYPEWRITTEN NOTE: “WESLEY’S PICTURE FRAMING. 850 FORT STREET, VICTORIA, BC. PHONE 385-3522” OVERALL FAIR TO GOOD CONDITION. PAINTING IS DIRTY. THERE IS A VERTICAL CRACK, ROUGHLY IN THE CENTRE OF THE PAINTING. THERE IS ALSO A SMALL SCRATCH IN THE PAINT JUST TO THE RIGHT OF THE LEFT MOST TENT, ABOVE THE TREE LINE. PAPER BACKING ON REVERSE IS TORN IN SEVERAL PLACES.
Subjects
ART
Historical Association
MILITARY
FINE ARTS
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH HILARY WHITE AND WENDY RUSSELL, CONDUCTED BY KEVIN MACLEAN IN FEBRUARY 2016. WENDY IS THE DAUGHTER OF SERGEANT DENZIL ASHBY, WHO WAS IN CHARGE OF THE RCMP DETACHMENT IN MEDICINE HAT WHERE WILLI MUELLER WAS HELD PRIOR TO HIS HANGING IN 1946. HILARY IS WENDY’S NIECE AND IS THE DAUGHTER OF ROSEMARY WELLS. WILLI MUELLER GAVE THE PAINTING AND THE CHESS SET TO DENZIL ASHBY. UPON HIS DEATH IN 1983, THE ITEMS WERE GIVEN TO ROSEMARY. SHE IN TURN GAVE THE TWO PIECES TO HER NEPHEW (AND WENDY’S SON) MICHAEL RUSSELL. WENDY EXPLAINED THAT MICHAEL “WAS VERY INTERESTED IN ANYTHING TO DO WITH MILITARY, PARTICULARLY CANADIAN MILITARY HISTORY.” UPON MICHAEL’S DEATH, THE ITEMS WERE TRANSFERRED TO HILARY, WHO HAS DONATED THEM TO THE GALT. IN EXPLAINING HER MOTIVATIONS TO DO SO, HILARY SAID “I LIVE IN SINGAPORE AND I AM A RESEARCHER AT THE NATIONAL MUSEUM OF SINGAPORE, AND I KNOW HOW MUCH THESE THINGS ARE TREASURES, AND THE STORIES THAT GO WITH THEM. SO I WAS ENCOURAGED, WHILE WENDY HAS THE STORIES STILL FRESH IN HER MIND, (LAUGHTER) TO HOPEFULLY SHARE THEM WITH YOU.” THE RCMP DETACHMENT IN MEDICINE HAT HOUSED NOT ONLY THE PRISONERS, BUT THE ASHBY FAMILY AS WELL. WENDY EXPLAINED: “IT WAS JUST A RANCH HOME THAT HAD JUST BEEN DIVIDED AND MADE INTO A DETACHMENT. ON THE FRONT PART OF THE DETACHMENT, I REMEMBER, THERE WERE THE OFFICES, THE JAIL – I THINK THERE WERE TWO CELLS IN THE BASEMENT, AND I ONLY SORT OF PEEKED THROUGH A HOLE IN THE WALL TO SEE THEM. I DON’T THINK I EVER WENT NEAR THEM. AND THEN ON THE UPPER FLOOR, I THINK THE THIRD FLOOR, WAS WHERE THE CONSTABLES SLEPT. THERE WAS ONLY ONE MARRIED OFFICER AND THAT WAS MY FATHER AND THE REST WERE ALL CONSTABLES. SO WE WOULD USUALLY HAVE TWO OR THREE.” SHE ELABORATED, SAYING: “I CAN REMEMBER SITTING ON THE BASEMENT STEPS BECAUSE THE HOUSE WAS DIVIDED. IT WAS AN RCMP DETACHMENT AND SO THE JAILS WERE IN THE BASEMENT ON THE OFFICE SIDE, AND THE PERSONAL WAS ON THE OTHER, AND I WOULD SIT ON THE STAIRS AND LISTEN TO WILLI PLAY HIS HARMONICA. AND IT WAS LILI MARLENE. I GET ALL TEARY WHEN I THINK – BUT HE WAS A VERY, VERY PLEASANT YOUNG MAN. I DON’T REALLY VISUALIZE – I, SEEING PICTURES OF HIM NOW, I CAN RECALL HIS NICE COUNTENANCE. HE HAD A VERY FRIENDLY FACE AND VERY RELAXED, VERY, VERY PERSONABLE, VERY RELIABLE, VERY RESPECTFUL. AND I KNOW MY MOTHER, OF COURSE, DID ALL THE HOME COOKING FOR THE PRISONERS THERE, SO WILLI HAD NICE HOME COOKING, CHOCOLATE CAKE, AND I CAN’T REMEMBER ANYTHING THAT WAS BAD BECAUSE I THINK MY FATHER KEPT EVERYTHING VERY CALM. I HAD NO IDEA THAT THERE WAS A PRISONER OF WAR CAMP. I WOULDN’T KNOW WHAT THAT MEANT, AND EVEN THAT WILLI WAS GOING TO BE HANGED. BUT OF COURSE, MY SISTER DID.” SHE CONTINUED: “BEING A SMALL CHILD, I WAS JUST AWARE THAT HE WAS THERE. HE WAS CUTTING THE GRASS AND HE WAS A PLEASANT PERSON AND ROSEMARY WAS VERY FOND OF HIM. SHE WAS A TEENAGER AND HE WAS A NICE LOOKING YOUNG MAN AND I THINK SHE SORT OF HAD A CRUSH ON HIM. HE WAS VERY GENTLE AND AS I SAY, VERY RESPECTFUL.” SHE DESCRIBED WILLI FURTHER: “HE WAS VERY RESPECTFUL; HE WASN’T A PUSHY PERSON, OR LIKE, WE OFTEN THINK OF THE GERMANS AS BEING ALOOF AND – BUT HE WASN’T. HE WAS JUST A VERY NATURAL AND VERY – MY FATHER LEFT HIM IN CHARGE OF THE DETACHMENT ONCE. IT WAS A BIT OF – THIS IS ALL HEARSAY, BUT THERE WAS A FIRE SOMEWHERE NEAR MEDICINE HAT AND IT WAS SPREADING AND THEY NEEDED TO GO, SO DAD TOOK ALL THE – MAYBE TWO CONSTABLES AND HIMSELF, AND THEY HAD TO GO, SO HE LEFT WILLI CUTTING THE GRASS AND APPARENTLY HE TOLD HIM, HE SAID, ‘NOW WE HAVE AN EMERGENCY.’ HE SAID, ‘YOU’RE IN CHARGE OF THE DETACHMENT. I EXPECT YOU TO BE HERE WHEN I GET BACK.’ AND HE SAID, ‘YES,’ AND HE WAS.” WENDY’S MOTHER ALSO FOUND WILLI CHARMING: “MY MOTHER THOUGHT HE WAS LOVELY, BECAUSE HE WAS SUCH A GENTLEMAN, I THINK.” WENDY HAD THE FOLLOWING TO SAY ABOUT THE CHESS SET: “I THINK MY FATHER MENTIONED THAT THEY WERE PROVIDED WITH CHESS SETS OR THINGS TO OCCUPY THEIR TIME IN SOME OF THE CAMPS, AND THAT WILLI HAD THIS SET WITH HIM AND HE USED TO PLAY IT IN THE – I DON’T KNOW IF HE PLAYED WITH, YOU KNOW, BY HIMSELF OR SOMEBODY ELSE - ONE OF THE OTHER BOYS THAT WERE IN THE STATION WOULD PLAY WITH HIM. I DO KNOW THAT [THE PAINTING AND CHESS SET] BELONGED TO HIM, AND WHEN HE WAS TAKEN AWAY, HE PRESENTED THESE TO MY FATHER.” WENDY RECALLS BEING TOO YOUNG TO KNOW THAT WILLI HAD BEEN HANGED, BUT FIGURED THAT HER SISTER ROSEMARY KNEW: “WE JUST KNEW THAT HE HAD GONE. BUT ROSEMARY WOULD HAVE KNOWN [THAT HE WAS EXECUTED], AND THAT’S MAYBE WHY – I DON’T KNOW WHAT HILARY CAN TELL YOU, HOW, IF ROSEMARY TOLD HER HOW SHE FELT ABOUT IT.” HILARY RESPONDED, SAYING: “SHE DID A LOT. SHE TOLD ME LOTS OF STORIES, BUT I WAS LIKE, “AAH, MOM.” YOU KNOW I WAS FAIRLY YOUNG, PROBABLY ROLLING MY EYES ABOUT SOME ROMANCE OR SOMETHING SHE HAD WITH THIS GUY, AND I JUST REMEMBER HER TELLING ME THAT HE DIED ON HER BIRTHDAY AND IT WAS DEVASTATING, AND SHE STILL CRIED ABOUT IT … SHE MUST HAVE BEEN VERY EMOTIONALLY ATTACHED TO HIM … BUT I DON’T REALLY KNOW ANY OF THE DETAILS. I’M JUST READING ABOUT IT NOW, AND I DON’T WANT TO MIX IT UP BETWEEN WHAT SHE TOLD ME AND WHAT I’M READING.” WHEN ASKED IF THE PAINTING HAD BEEN DISPLAYED, WENDY REPLIED: “YES. [MY DAD DENZIL] HAD THIS IN HIS DEN AND HE HAD A DEN/OFFICE BECAUSE HE LATER BECAME A PROVINCIAL COURT JUDGE IN B.C. AND THIS WAS ALWAYS ON HIS WALL IN THAT LITTLE ROOM IN THE BASEMENT THAT HE HAD. THAT WAS JUST IN HIS DISPLAY CASE.” WENDY THINKS HER FATHER HELD ONTO THE PAINTING AND CHESS SET BECAUSE HE FELT WILLI SHOULDN’T HAVE BEEN HANGED: “I HAVE A FEELING [DAD] THOUGHT AT THE TIME, THAT WILLI SHOULD NEVER HAVE BEEN HANGED. AND I THINK THAT THAT WEIGHED ON HIM, BUT THIS IS MY FEELING, BECAUSE WILLI THOUGHT THAT BECAUSE HE WAS GIVING EVIDENCE. THIS WAS A TIME OF WAR WHEN WE ALLOWED, IF I UNDERSTAND, THE CAMPS BE RUN BY THE OFFICERS – THEY HAD THEIR OWN HIERARCHY – AND HE WAS COMMANDED OR ORDERED TO COMMIT THIS CRIME, AND DAD, I THINK, FELT BADLY ABOUT THIS. THIS WAS NOT THE – HE WAS ORDERED AND IN A TIME OF WAR, IF YOU DIDN’T DO WHAT YOUR OFFICER SAID, YOU WERE KILLED. YOU KNOW, YOU WERE – SO I THINK THAT, PERHAPS WAS A PART OF IT.” A SPECIAL SERIES FROM THE EDMONTON JOURNAL ENTITLED “HANGED: A SPECIAL SERIES ABOUT THE HISTORY OF CAPITAL PUNISHMENT IN ALBERTA” INDICATES THAT THE GERMAN P.O.W.S PLAYED CHESS TO PASS THE TIME: “THE FOUR GERMANS SPENT THE DAYS BEFORE THEIR EXECUTION PLAYING CHEST, SHOUTING THEIR MOVES TO EACH OTHER FROM SEPARATE CELLS. NONE OF THE MEN WOULD SPEAK TO [DONALD SHERMAN] STALEY, WHO SPENT HIS FINAL DAYS DOING JIGSAW PUZZLES ALONE.” THE FOLLOWING PARAGRAPHS PULL THEIR INFORMATION FROM A SERIES OF LETHBRIDGE HERALD ARTICLES. BIOGRAPHIC DETAILS FOR WILLI MUELLER ARE FOUND IN AN ARTICLE PUBLISHED ON APRIL 30, 1946: FELDWEBEL (SERGEANT MAJOR) WILLI MUELLER WAS BORN IN SILESIA, HIS NATIVE CITY BEING KLEINA IN THE PROVINCE OF GORSEROTZ. HE MADE HIS HOME IN ROSETZ IN TROCHENG, WHERE HE WORKED AS AN ENGINE MECHANIC IN CIVILIAN LIFE. MUELLER WENT INTO THE GERMAN NAVY IN 1934 AND THE FOLLOWING YEAR TRANSFERRED TO THE AIR FORCE.” AT THE TIME THE ARTICLE WAS PUBLISHED, MUELLER WAS A “32-YEAR-OLD LUFTWAFFE MECHANIC, WHO WAS CAPTURED NEAR GLASGOW, SCOTLAND, ON MAY 6, 1941, AFTER HIS BOMBER WAS SHOT DOWN INTO A SWAMP BY A SPITFIRE FIGHTER. HE WEARS BOTH THE FIRST AND SECOND CLASS VERSIONS OF THE IRON CROSS AND COMPLETED 87 OPERATIONAL FLIGHTS.” THE ARTICLE CONTINUED: “WHEN HIS PLANE WAS SHOT DOWN INTO A SWAMP NEAR GLASGOW, BOTH MUELLER’S LEGS WERE BROKEN AND HE ALSO SUFFERED A FRACTURE OF A VERTEBRA. THE CAPTAIN AND LIEUTENANT IN THE BOMBER WERE KILLED. AFTER BEING RELEASED FROM HOSPITAL AND REGAINING HIS HEALTH, MUELLER WAS BROUGHT TO CANADA AND FOR SIX MONTHS WORKED IN A LUMBER CAMP NEAR FLANDERS, ONT. A SINGLE MAN, HE SPEAKS SPANISH AND ONLY A LITTLE ENGLISH.” MUELLER WAS PUT ON TRIAL FOR HIS INVOLVEMENT IN THE MURDER OF UNTEROFFIZIER (CORPORAL) DR. KARL LEHMANN, A FELLOW GERMAN PRISONER OF WAR, ON SEPTEMBER 10, 1944, AT THE MEDICINE HAT PRISONER OF WAR CAMP, NUMBER 132. LEHMANN “WAS BELIEVED TO BE A GERMAN DOCTOR OF PHILOSOPHY AND AN ANTI-NAZI” ACCORDING TO AN APRIL 20, 1946 ARTICLE. A JULY 30, 1946 ARTICLE SAID THE FOLLOWING: “LEHMANN’S REPUTATION PRIOR TO HIS DEATH WAS THAT HE WAS A ‘GOOD SPORTSMAN’ AND A ‘GOOD COMRADE.’ AFTER HIS DEATH THE RUMOR HAD BEEN THAT HE WAS A ‘TRAITOR.’” THREE OTHER P.O.W.S WERE IMPLICATED IN THE MURDER AS WELL: BRUNO PERZENOWSKI (ALSO SPELT PERZONOWSKY), WALTER WOLF, AND HEINRICH BUSCH. AN ARTICLE PUBLISHED ON MAY 3, 1946 EXPLAINS THE MOTIVATION BEHIND THE KILLING OF LEHMANN: “PERZENOWSKI INFORMED THEM THAT HE HAD ‘ORDERS TO PUT LEHMANN ASIDE’ BECAUSE HE WAS PLANNING A COMMUNISTIC OVERTHROW AND THAT LEHMANN WAS SUPPOSED TO BE ‘THE CHIEF OF THIS COMMUNISTIC GROUP.’ MUELLER WROTE [IN A STATEMENT GIVEN TO POLICE VOLUNTARILY] THAT AS ‘I WAS A STRONG MAN, PERZENOWSKI GAVE ME THE ORDER TO HELP DO AWAY WITH LEHMANN.” ANOTHER ARTICLE PUBLISHED JUNE 27, 1946 GIVES ADDITIONAL INFORMATION: “MUELLER TOLD … THAT ON THE AFTERNOON OF LEHMANN’S HANGING HE HAD BEEN SUMMONED TO PERZENOWSKI’S QUARTERS. HERE HE WAS TOLD BY [PERZENOWSKI] OF AN ORDER RECEIVED FROM THE ‘HIGHER-UPS’ STATING THAT A ‘COURT HAD TAKEN PLACE AND THAT DURING THAT COURT THREE OR FIVE MEN HAD STATED UNDER OATH THAT CPL. LEHMANN HAD BEEN THE RINGLEADER OF A COMMUNISTIC GROUP WHICH THREATENED TO OVERTHROW THE CAMP LEADERSHIP.’ THE ORDER FURTHER STATED ‘THAT LEHMANN WAS TO BE REMOVED AND THAT I (MUELLER) WOULD HAVE TO ASSIST IN IT.’” IN AN ADDITIONAL ARTICLE, PUBLISHED MAY 13, 1946, AN UNIDENTIFIED GERMAN P.O.W. TESTIFIED THAT KARL LEHMANN WAS HANGED BECAUSE HE WAS “‘SUPPOSED TO BE DANGEROUS FOR THE GENERAL CAMP PUBLIC.’” FINALLY, AN ARTICLE FROM DECEMBER 18, 1946 EXPLAINS FURTHER: “NAZI LEADERS HAD ORDERED LEHMANN KILLED WHEN HE WAS A PRISONER OF WAR IN BRITAIN AFTER HAVING BEEN SHOT DOWN WHILE SERVING WITH THE LUFTWAFFE, BECAUSE HE WAS AN ANTI-NAZI. AT THAT TIME HE WAS DETAINED AT A CAMP WITH PERZENOWSKI, MUELLER, AND BUSCH BUT WAS TRANSFERRED TO CANADA BEFORE THE ORDERS COULD BE EXECUTED. HE AGAIN MET SOME OF HIS FORMER FELLOW CAPTIVES AT THE MEDICINE HAT CAMP AND AFTER THE ATTEMPT ON HITLER’S LIFE. NAZI LEADERS IN THAT CAMP WERE ORDERED BY HIDDEN SHORT WAVE RADIO TO KILL ALL TRAITORS TO NAZISM AND ALL COMMUNISTS. LEHMANN HAD BEEN LECTURING AGAINST NAZI IDEOLOGY AT THE CAMP.” AT HIS TRIAL, PERZENOWSKI TRIED TO TAKE THE BLAME FOR THE MURDER. AN ARTICLE FROM JUNE 28, 1946 GIVES THE FOLLOWING INFORMATION: SERGEANT-MAJOR BRUNO PERZENOWSKI “ADMITTED THAT WITHOUT HAVING BEEN DIRECTLY ORDERED TO DO SO, HE HAD GIVEN THE ORDER TO HAVE LEHMANN REMOVED, AND HE EXPRESSED THE DESIRE THAT FULL RESPONSIBILITY FOR THE MURDER BE PLACED ON HIM AND THAT THOSE HE HAD ORDERED TO ASSIST HIM IN THE HANGING BE NOT BLAMED.” IT CONTINUED SAYING THAT “…THE ACCUSED HAD CONSIDERED [THAT] HE WAS ACTING ACCORDING TO GERMAN MILITARY LAW WHEN ORDERING THE HANGING.” IN AN ARTICLE FROM JUNE 27, 1946, MUELLER EXPLAINED THAT THE MURDER “HAD BEEN PLANNED AND ALL PREPARATIONS MADE PRIOR TO HIS GOING TO THE HEAD BARRACKS OF HUTS DZ.” IT CONTINUED: “IT HAD ALSO BEEN ARRANGED THAT AT A GIVEN SIGNAL HE (MUELLER) WAS TO HIT LEHMANN ON THE CHIN AND KNOCK HIM DOWN. THEN THE NOOSE WAS TO BE PUT OVER HIS NECK AND HE WAS TO BE HANGED.” THE ARTICLE CONTINUED: “‘AS I ARRIVED AT THE HUT I WAS HANDED A ROPE AND A STICK BY SOMEONE AND I WAS INSTRUCTED TO HIT LEHMANN WITH THE STICK. I THREW THE STICK AWAY AND STUCK THE ROPE IN MY POCKET,’ [MUELLER] TESTIFIED. SHORTLY AFTER LEHMANN ARRIVED AND WAS ASKED BY PERZENOWSKI ‘IF HE KNEW ANYTHING ABOUT THE COMMUNISTIC ACTIVITIES. THAT WAS THE SIGNAL FOR ME TO HIT HIM.’ MUELLER SAID WHEN HE HIT HIM WITH HIS FIST, LEHMANN FELL OFF THE BENCH ON WHICH HE WAS SITTING AND THE REST OF THOSE IN THE ROOM ‘FELL UPON HIM.’ THE ROPE WAS THEN ADJUSTED ON THE VICTIM’S NECK BY ‘MYSELF AND BUSCH.’ LEHMANN WAS THEN LIFTED UP AND WHEN THE OTHER END OF THE ROPE HAD BEEN TIED, ‘I BELIEVE BY BUSCH’ TO THE GAS PIPE, ‘I LEFT.’ … [MUELLER] HAD NOT SEEN THE ORDER WHICH PERZENOWSKI SAID HE RECEIVED FROM THE ‘HIGHEST AUTHORITY’ AND HE ‘HAD THE IMPRESSION PERZENOWSKI DID NOT WANT HIM TO SEE IT.’” THE FOUR GERMAN P.O.W.S WERE FOUND GUILTY OF MURDER AND ALL WERE SENTENCED TO HANG. THREE OF THE MEN ATTEMPTED TO COMMIT SUICIDE PRIOR TO THEIR HANGING, INCLUDING MUELLER. THE MEN EXPLAINED, IN A DECEMBER 18, 1946 ARTICLE, “THAT THEY TRIED TO COMMIT SUICIDE IN A DETERMINED EFFORT TO ESCAPE HANGING LIKE CRIMINALS … THEY HAD MADE APPEALS TO BE SHOT ‘LIKE SOLDIERS.’” THE ARTICLE CONTINUED SAYING: “THE TRAP DOOR FOR MUELLER AND WOLF WAS SPRUNG AT 1242 AND THE LATTER WAS PRONOUNCED DEAD IN 12 MINUTES AND MUELLER WAS DEAD THREE MINUTES LATER.” THE FOUR P.O.W.S WERE HUNG AT THE SAME TIME AS DONALD SHERMAN STALEY, WHO WAS CONVICTED OF THE MURDER OF TWO YOUNG BOYS. THE DECEMBER 18 ARTICLE CONTINUED: “EACH OF THE NAZIS EXPRESSED RESENTMENT AT BEING SCHEDULED TO HANG WITH STALEY, THE GERMANS REGARDING HIM AS ‘A CRIMINAL’ BECAUSE HE MURDERED TWO YOUNG BOYS. THEY TREATED HIM WITH CONTEMPT … EACH OF THE MURDERERS WAS HANGED WEARING REGULAR PRISON CLOTHING CONSISTING OF A BLUE SHIRT, KHAKI TROUSERS AND A PAIR OF CANVAS SLIPPERS.” SEE PERMANENT FILE FOR A COPY OF THE INTERVIEW TRANSCRIPT, A COPY OF THE SPECIAL “HANGED” FROM THE EDMONTON JOURNAL, AND FOR COPIES OF THE HERALD ARTICLES.
Catalogue Number
P20160007001
Acquisition Date
2016-03
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
PAPER, WATERCOLOUR, WOOD
Catalogue Number
P20160004000
  2 images  
Material Type
Artifact
Date
1945
Materials
PAPER, WATERCOLOUR, WOOD
No. Pieces
1
Height
47.2
Length
62.5
Width
1.5
Description
WATERCOLOUR ON PAPER. WOODEN FRAME, PAINTED GOLD. OFF-WHITE/TAN MATTING BEHIND GLASS. UNTITLED. FOREGROUND OF PAINTING IS A BODY OF WATER, STARTING IN THE BOTTOM RIGHT CORNER AND EXTENDING DIAGONALLY TO THE LEFT, ENDING IN THE MID-GROUND. MID-GROUND, ON THE RIGHT, IS A STAND OF GREEN PINE TREES, WITH FOUR TAN CANVAS TENTS VISIBLE AMONGST THE TREES. MOUNTAINS ON THE LEFT SIDE OF PAINTING AT MID-GROUND. BACKGROUND IS A BLUE SKY WITH A FEW CLOUDS. SIGNED IN PENCIL BOTTOM RIGHT HAND CORNER “K. SUCHT. 45.” MEASUREMENTS ARE OF FRAME. OPENING OF MAT IS 31.5CM X 47.0CM. REVERSE IS SEALED WITH BROWN PAPER. FRAMERS MARK IN CENTRE TOP: “PORTRAITS, PICTURE FRAMING, PRINTING, AND DEVELOPING. A.E. CROSS & SONS. 3RD AVE. SO. LETHBRIDGE.” WIRE ON THE BACK FOR HANGING. VERY GOOD CONDITION. PAINTING IS IN EXCELLENT CONDITION. FRAME IS SCUFFED, WORN, AND A LITTLE DIRTY. MATTING IS DISCOLOURED. PAPER BACKING IS TORN IN THE UPPER CORNERS AND ALONG THE TOP OF FRAME.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH TRACEY BATHGATE AND KEVIN SOUTHWELL, CONDUCTED BY KEVIN MACLEAN IN FEBRUARY 2016. TRACEY IS THE GRANDDAUGHTER FREDERICK CECIL “CECIL” WOOLDRIDGE, WHO ORIGINALLY ACQUIRED THE PAINTING FROM A PRISONER OF WAR. TRACEY CAME INTO POSSESSION OF THE PAINTING IN ABOUT 1991 WHEN HER PARENTS, FRANK AND KATHLEEN BATHGATE, WERE DOWNSIZING FROM THEIR HOUSE TO A CONDO. ASKED WHY IT WAS THAT TRACEY TOOK THIS PAINTING, KEVIN REPLIED THAT BOTH TRACEY’S FATHER AND GRANDFATHER HAD “ACTUALLY PLANTED TREES IN THIS PARK, AND THAT’S WHAT I LIKED. I’VE ALWAYS LIKED ART, AND THE STORY WAS GREAT.” HE CONTINUED, SAYING THAT THE PRISONERS “USED EGG YOLKS AND STUFF THEY FOUND TO MAKE THE PIGMENTS, WHICH IS COOL… I HEARD FROM HER GRANDFATHER AND HER FATHER … THEY USED THE MINERALS AROUND THE AREA TO GET THE COLOURS.” TRACEY RECALLED THAT THIS PAINTING HUNG IN HER GRANDPARENTS HOUSE AND EXPLAINED THAT HER “GRANDFATHER MADE LOTS OF FRIENDS AT THE PRISONER-OF-WAR CAMP, AND THEY GAVE HIM GIFTS BACK, OF WHAT THEY COULD.” TRACEY SHARED THAT THERE ARE FAMILY PHOTOGRAPHS OF THE P.O.W.S AT HER GRANDPARENTS HOUSE: “THERE ARE PICTURES OF [MY GRANDFATHER] WITH THE WORK CREW. HE BROUGHT THEM HOME. GRANDMA WOULD MAKE A MEAL. THERE’S LETTERS AFTER THE WAR. THEY KEPT A FRIENDSHIP, AND THEY THANKED HIM FOR HIS KINDNESS, AND BEING A FAIR AND DECENT PERSON, AND I DO BELIEVE THAT CAMP OUT THERE WAS RUN QUITE NICELY. YOU KNOW HOW SOME WAR CAMPS WERE GOOD, AND SOME WERE BAD. I DO BELIEVE IT WAS A PRETTY GOOD CAMP. IT WAS A FAIR CAMP.” THE FOLLOWING INFORMATION COMES FROM LETHBRIDGE HERALD ARTICLES AND CECIL’S ATTESTATION PAPERS FROM THE FIRST WORLD WAR. ACCORDING TO HIS OBITUARY, FREDERICK CECIL “CECIL” WOOLDRIDGE WAS BORN ON AUGUST 11, 1989 IN CORNWALL COUNTY, ENGLAND, THE SON OF HENRY WOOLDRIGE. HE MOVED TO CANADA IN 1913 WITH HIS PARENTS AT THE AGE OF 15, INITIALLY SETTLING IN MANITOBA AND LATER MOVING TO LETHBRIDGE IN 1943. HE SERVED IN BOTH WORLD WARS, WAS MARRIED TO HATTIE “MITZ” WOOLDRIDGE (MAIDEN NAME UNKNOWN), AND IS THE GRANDFATHER OF THE DONOR. AT THE TIME OF HIS ENLISTMENT IN THE FIRST WORLD WAR, CECIL REPORTEDLY LIVED IN MARYFIELD, SK. CECIL PASSED AWAY AT THE AGE OF 96 IN NOVEMBER 1994. AN ARTICLE PUBLISHED IN THE LETHBRIDGE HERALD ON MAY 5, 1945 GIVES THE FOLLOWING INFORMATION ABOUT THE PRISONER OF WAR HOSTEL AT PARK LAKE, AB: “GREATER USE OF GERMAN PRISONERS OF WAR WILL BE MADE ON FARMS OF SOUTHERN ALBERTA THIS YEAR … THE FEDERAL DEPARTMENT OF LABOR ANNOUNCED THAT NINE HOSTELS WOULD BE OPERATED IN THE LETHBRIDGE DISTRICT SHORTLY TO SUPPLY FARMERS WITH PRISONERS OF WAR LABOR WHEN AND AS NEEDED. … THE HOSTELS ARE TO BE ESTABLISHED DURING THIS MONTH AND WILL CONTINUE IN OPERATION UNTIL THE END OF OCTOBER, ADDED COLONEL [E.S.] DOUGHTY. HE EXPLAINED THAT HOSTELS WILL LIKELY BE ESTABLISHED AT BARNWELL, COALDALE, IRON SPRINGS, PARK LAKE, MAGRATH, STIRLING, GLENWOOD, WELLING AND WHITE SIDE (SOUTH OF LETHBRIDGE). THIS IS THE THIRD SUMMER THAT GERMAN PRISONERS OF WAR WILL WORK ON ALBERTA SUGAR BEET FARMS. THE FIRST YEAR THE PROGRAM CONSISTED OF A CONVOY SYSTEM OPERATED FROM THE LARGE PRISONER OF WAR CAMP HERE, WHILE LAST YEAR LABOR WAS SECURED FROM THE LOCAL CAMP AND FROM FOUR HOSTELS ESTABLISHED AT DISTRICT POINTS.” IT CONTINUED, SAYING: “PRISONERS OF WAR WILL BE CAREFULLY HANDPICKED FROM THE THOUSANDS OF CAPTIVES IN THE PRISONER OF WAR CAMP HERE BY MEMBERS OF THE VETERANS GUARD OF CANADA AND ONLY THOSE ABOVE SUSPICION WILL BE PERMITTED TO LEAVE THE CAMP FOR MANPOWER POOLS. NONE OF THIS CLASS OF PRISONERS WILL BE PERMITTED TO LIVE ON FARMS. THEY WILL BE TAKEN FROM HOSTELS EACH MORNING, PUT IN A FULL EIGHT-HOUR WORK DAY, AND THEN BE RETURNED TO THE HOSTELS.” ANOTHER ARTICLE, PUBLISHED MAY 30, 1945 GAVE THE FOLLOWING DETAILS: “ESTABLISHMENT OF PRISONER OF WAR HOSTELS IN IRRIGATED AREAS ABOUT LETHBRIDGE HAS STARTED AND EXPECTATIONS ARE THAT IN ANOTHER WEEK OR 10 DAYS MORE THAN A THOUSAND GERMAN PRISONERS OF WAR FROM THE LARGE CAMP HERE WILL BE AVAILABLE TO FARMERS FROM EIGHT MANPOWER POOLS … CAPT C.E. WILLIAMS, A LABOR SUPERVISOR IN THIS REGION ... EXPLAINED THAT A HOSTEL WILL BE OPENED AT PARK LAKE ON THURSDAY … EACH HOSTEL WILL CONTAIN BETWEEN 100 AND 140 WORKERS, IN ADDITION TO GERMAN PRISONERS OF WAR REQUIRED FOR THE GENERAL MAINTENANCE OF HOSTELS … BEFORE THE FIRST HOSTELS WERE ESTABLISHED MANY GERMAN PRISONERS OF WAR WERE TAKEN FROM THE LARGE CAMP HERE TO WORK ON FARMS, DEMAND FOR WORKS BEING SO GREAT THAT ALL ORDERS COULD NOT BE READILY FILLED.” A JUNE 18, 1945 ARTICLE INDICATES THAT P.O.W. LABOUR FROM PARK LAKE WAS BEING USED AT COMMERCE, AB: “BEET THINNING IS IN PROGRESS BETWEEN RAINS, WITH MANY GROWERS USING PRISONERS OF WAR FROM THE CAMP AT PARK LAKE.” P.O.W. LABOUR WAS ALSO USED AT DIAMOND CITY, AB: “POW LABOR FOR BEET THINNING IS BEING USED QUITE EXTENSIVELY, SUPPLIED BY THE HOSTEL AT PARK LAKE.” ON JUNE 19, 1945, THE HERALD REPORTED THAT P.O.W.S WERE ALSO BEING USED IN NEWLANDS, AB: “GERMAN PRISONERS OF WAR ARE BEING USED BY MANY FARMERS IN THIS DISTRICT, AND THE HOSTEL AT PARK LAKE IS PROVING A GREAT CONVENIENCE FOR FARMERS.” A JUNE 30, 1945 ARTICLE FOCUSES ON DIAMOND CITY AGAIN: “THINNING OPERATIONS ARE ALMOST COMPLETED BY POW HELP HAS BEEN IN STRONG DEMAND TO HELP FINISH UP THINNING AND GROWERS ARE EXPRESSING SATISFACTION WITH THE ARRANGEMENT OF HAVING A HOSTEL AT PARK LAKE RATHER THAN TO MAKE DAILY TRIPS TO THE INTERNMENT CAMP.” THE FOLLOWING BRIEF HISTORY OF PRISONER OF WAR CAMP 133 WAS DEVELOPED BY JANE EDMUNDSON WITH INFORMATION FROM THE GALT MUSEUM BROCHURE "LETHBRDGE'S INTERNMENT CAMPS" AND THE LIBRARY AND ARCHIVES CANADA WEBSITE. DURING WORLD WAR II THERE WERE 40 PRISONER OF WAR (P.O.W.) CAMPS CONSTRUCTED ACROSS CANADA TO HOUSE THE LARGE NUMBER OF INCOMING POWS - ENEMY MILITARY PERSONNEL THAT WERE CAPTURED IN COMBAT. CAMPS WERE BUILT IN ONTARIO, QUEBEC, THE MARITIMES AND ALBERTA. THE CAMPS IN LETHBRIDGE AND MEDICINE HAT WERE THE LARGEST, TOGETHER HOUSING 22,000 MEN. THE LETHBRIDGE CAMP, NO. 133, WAS BUILT IN THE SUMMER OF 1942, AND BY NOVEMBER OF THAT YEAR HOUSED 13,341 PRISONERS. THE CAMP WAS DIVIDED INTO SIX SECTIONS, EACH WITH SIX DORMITORIES, MESS HALLS, KITCHENS, AND ENTERTAINMENT FACILITIES. MEALS WERE IN SHIFTS WITH PRISONERS SERVING AS COOKS. TAILOR, BARBER AND SHOE REPAIR SHOPS WERE ALSO STAFFED BY PRISONERS, AND NON-COMBAT POWS PRACTICED THEIR PRE-WAR PROFESSIONS AS MEDICAL DOCTORS AND DENTISTS. HOUSING AND RATIONS WERE THE SAME STANDARD AS FOR THE CANADIAN ARMED FORCES, WHICH SOMETIMES CAUSED RESENTMENT AMONG LETHBRIDGE CIVILIAN RESIDENTS, WHO WERE UNABLE TO OBTAIN MANY OF THE SAME SUPPLIES ON THEIR STRICT WARTIME RATION ALLOWANCES. WITH MANY YOUNG LOCAL MEN AWAY AT WAR, LOCAL FARMERS BEGAN TO REQUEST LABOUR ASSISTANCE FROM THE CAMP, ESPECIALLY FOR THE SUGAR BEET INDUSTRY. BY 1943 AN AGREEMENT WAS REACHED AND SOME OF THE PRISONERS WORKED ON FARMS THROUGHOUT SOUTHERN ALBERTA. MOST OF THESE PRISONERS WENT FROM THE CAMP TO THE FARMS DAILY, BUT SOME WERE KEPT AT 'LODGES' AT THE MORE DISTANT FARMS FOR DAYS AT A TIME, WITH MINIMAL GUARDING. FOR THEIR LABOUR, THE PRISONERS WERE PAID 50 CENTS PER DAY. WITH WAR'S END, CAMP 133 CLOSED IN DECEMBER 1946 AND ITS PRISONERS WERE SENT BACK TO GERMANY. THE AREA WHERE THE CAMP STOOD EVENTUALLY BECAME AN INDUSTRIAL PARK AND PART OF THE FEDERAL AGRICULTURAL RESEARCH CENTRE. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES AND FOR A TRANSCRIPT OF THE INTERVIEW.
Catalogue Number
P20160004000
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Material Type
Artifact
Materials
PLYWOOD, PAINT
Catalogue Number
P20110031021
  2 images  
Material Type
Artifact
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Materials
PLYWOOD, PAINT
No. Pieces
5
Height
303.5
Length
114.3
Description
STAGE PERFORMANCE BORDER, IN FIVE PANEL PIECES. .001 TOP CENTRE PANEL. RECTANGULAR. VERY THIN PLYWOOD. GREEN BACKGROUND WITH PINK/RED FLOWERS. TWO FLAGS IN THE CENTRE: THE KUOMINTANG/NATIONAL LEAGUE FLAG IS ON THE LEFT (NAVY BLUE WITH A GOLDEN YELLOW SUN IN THE MIDDLE) AND THE FLAG OF THE REPUBLIC OF CHINA IS ON THE RIGHT (RED BODY, WITH A NAVY BLUE RECTANGLE IN THE TOP LEFT CORNER AND A GOLDEN YELLOW SUN IN THE MIDDLE OF THIS NAVY SECTION). BETWEEN THE FLAGS IS A NAVY BLUE, ROUGHLY OCTAGON SHAPE, WITH ANOTHER GOLDEN YELLOW SUN IN THE CENTRE. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. ON THE FAR RIGHT SIDE OF THE PANEL IS A SMALL RECTANGULAR PIECE, ATTACHED WITH WIRE, ROUGHLY 19CM X 7.6CM. PANEL IS 241.6CM X 47.6CM POOR TO FAIR CONDITION. PANEL IS WELL WORN, THE COLOURS ARE FADED, AND THE PAINT IS CHIPPED IN SEVERAL SPOTS. .002 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE RIGHT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. A SMALL PINK/RED FLOWER ON A GREEN VINE IS VISIBLE ON THE COLUMN. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 200.7CM X 56.2CM POOR TO FAIR CONDITION. PAINT SCRATCHED OFF, ESPECIALLY ON THE RIGHT SIDE OF THE GREEN FLOWER SECTION. NOT AS FADED OR AS WORN AS .001. TAPE REMNANTS IN THE GREEN SECTION TO THE RIGHT OF COLUMNS. .003 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE LEFT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 243.2CM X 55.2CM POOR TO FAIR CONDITION. TAN PAINT ALONG THE BOTTOM, OVER THE GREEN SECTION, IN SEVERAL AREAS. THE NAVY BLUE SECTION HAS A LOT OF HAIRLINE CRACKS IN THE PAINT. .004 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE LEFT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE RIGHT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR RIGHT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. IN WORSE CONDITION THAN .005. LOTS OF LITTLE HOLES, ESPECIALLY ON THE NAVY CURTAIN. LOTS OF WALL PAINT FLECKS, ESPECIALLY ON THE COLUMNS. THE BLUE VERTICAL RECTANGLE IS MORE GREEN THAN ON .005 AND THE PAINT IS VERY, VERY WORN. .005 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE RIGHT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE LEFT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. BELOW THIS BLUE RECTANGLE, ON THE NAVY CURTAIN, ARE SEVERAL CHINESE CHARACTERS ON A DIAGONAL, PAINTED ON IN RED. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR LEFT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. LOTS OF CHIPPED PAINT. PANEL IS FADED/DISCOLOURED. BOTTOM BACK IS IN ESPECIALLY POOR CONDITION AND IS VERY DIRTY.
Subjects
PUBLIC ENTERTAINMENT DEVICE
Historical Association
ASSOCIATIONS
FINE ARTS
LEISURE
History
THE FOLLOWING INFORMATION ABOUT THIS ARTIFACT COMES FROM INTERVIEWS HELD WITH MAY LEE AND JUDY CHAN, RICHARD LOO, AND HONG WONG AND JANICE WONG. PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG THEIR IMMIGRATION TO CANADA ARE FOUND BELOW THE ARTIFACT DETAILS AND BELOW THE INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY BUILDING. MAY RECALLED THAT THERE WERE OPERAS AT THE SOCIETY BUILDING, BUT THAT THEY DIDN’T COME VERY OFTEN. SHE DIDN’T RECALL ATTENDING MANY OPERAS, BUT DID REMEMBER THAT “HONG WONG WAS SINGING THERE.” RICHARD, MEANWHILE, THOUGHT THAT THE OPERAS WERE FINISHED BEFORE HE ARRIVED IN LETHBRIDGE. HE NEVER SAW AN OPERA PRODUCTION AT THE SOCIETY BUILDING, BUT DID RECALL THAT PROJECTION FILMS WERE SHOWN. RICHARD SUGGESTED “ASK HONG. HE LIKED A LITTLE BIT OF OPERA TOO … HE SANG IN STUFF LIKE THAT.” HONG INDICATED THAT THERE WAS NO OPERAS AT THE SOCIETY BUILDING WHEN HE CAME IN 1951, BUT THAT THE SOCIETY DID STAGE PRODUCTIONS AT THE UNIVERSITY. ASKED WHERE THE COSTUMES CAME FROM, HONG SAID “WE GOT THEM FROM CALGARY AT THAT TIME, WELL, ACTUALLY WE JUST BORROWED THEM. WE DIDN’T HAVE THE MONEY TO BUY THEM.” HONG CONTINUED SAYING THAT THIS STAGE PERFORMANCE BORDER WAS USED IN CONJUNCTION WITH A LARGE MURAL (SEE P20010027000) AND A STAGE. A SERIES OF ARTICLES PUBLISHED IN THE LETHBRIDGE HERALD GIVE BACKGROUND INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY AND ITS BUILDING: THE BUILDING THAT HOUSED THE CHINESE NATIONAL LEAGUE SOCIETY WAS BUILT IN 1909-1910 IN THE 300 BLOCK OF 2 AVENUE SOUTH AND IT WAS ORIGINALLY A RESTAURANT. BY 1915 IT HAD BECOME THE HEADQUARTERS FOR THE LETHBRIDGE BRANCH OF THE KAO MIN TANG (ALTERNATIVE SPELLINGS INCLUDE KUOMINTANG, KUO MIN TANG, GUOMINDANG, AND GUO MIN DANG). THE BUILDING WAS DESIGNATED AS A PROVINCIAL HERITAGE RESOURCE IN 1995 BECAUSE OF ITS VALUE AS A SOCIAL AND CULTURAL CENTRE FOR THE LETHBRIDGE CHINESE COMMUNITY. THE BUILDING WAS USED IN A VARIETY OF WAYS BY THE SOCIETY AND INCLUDED, AT VARIOUS TIMES, A RESTAURANT, A SCHOOL, AND LIVING ACCOMODATIONS. IN FEBRUARY 2011 A SECTION OF THE BRICK FAÇADE FELL OFF THE BUILDING AND CITY INSPECTORS DETERMINED THAT THE TIMBER AND RED BRICK STRUCTURE WAS POTENTIALLY UNSTABLE. THE BUILDING WAS TORN DOWN A SHORT TIME LATER. LETHBRIDGE'S CHINATOWN EMERGED IN 1901, A RESULT OF THE CHINESE POPULATION BEING RELEGATED TO A SECTION OF THE CITY BETWEEN GALT GARDENS AND THE COULEES. IN A JANUARY 7, 2002 ARTICLE ALBERT LEONG EXPLAINS THAT NO ONE REALLY WANTED CHINESE PEOPLE AROUND AND THAT “’ THEY WERE TOLD THAT THE ONLY PLACE THEY COULD START BUSINESSES WAS BETWEEN THE COULEES AT THE PARK, BECAUSE THE CITY DIDN’T WANT ANY COMPETITION FOR THE WHITE BUSINESSMEN … BUT ‘GHETTO-IZED’ OR NOT, THE CHINESE WHO CAME TO LETHBRIDGE FORMED AN IMPORTANT PART OF THE BACKBONE OF THIS CITY, [AND MADE] NOTEWORTHY [CONTRIBUTIONS] TO THE HISTORY OF THIS PLACE.’” BUSINESSES SUCH AS LAUNDRIES, MARKET GARDENS, AND RESTAURANTS WERE OPENED IN CHINATOWN, WITH THE RESIDENTS LIVING IN ROOMS ABOVE THE BUSINESSES. IN 1912 THERE WERE ABOUT 100 PEOPLE LIVING IN CHINATOWN AND BY THE 1930S, IT WAS A BUSTLING COMMUNITY. THE POPULATION OF CHINATOWN DWINDLED FOLLOWING THE SECOND WORLD WAR. JANICE WONG, PRESIDENT OF THE SOCIETY IN 2015, GAVE THE FOLLOWING INFORMATION ABOUT THE SOCIETY IN AN INTERVIEW: AS OF 2015, THE SOCIETY EXISTS MORE AS A SOCIAL CLUB AND THE SOCIETY HOLDS THREE CELEBRATORY DINNERS EACH YEAR, USUALLY HELD AT THE NEW DYNASTY RESTAURANT. THE SOCIETY ALSO VISITS THE CEMETERY ON A YEARLY BASIS “TO HONOUR THE ANCESTORS, CLEAN THE TOMBS, BRING FOOD, DO THE USUAL THINGS THAT WE USED TO DO – EAT ON GRAVES, BURN THE INCENSE. WE DO THAT EVERY YEAR STILL TO HONOUR OUR ANCESTORS. IT IS USUALLY IN THE SPRING … IN APRIL.” JANICE BRIEFLY DISCUSSED THE FUTURE OF THE SOCIETY, INDICATING THAT THERE IS SOME TALK ABOUT RE-BUILDING “BUT THAT INVOLVES A LOT OF PLANNING, AND MONEY, AND FUNDRAISING” AND SHE QUESTIONS WHETHER OR NOT THERE IS ENOUGH OF A MEMBERSHIP BASE TO GO FORWARD WITH RE-BUILDING. SHE ALSO EXPLAINED THAT PREVIOUS CHINESE IMMIGRANTS HAD TENDED TO COME FROM THE SAME GEOGRAPHIC REGION, BUT THAT PRESENTLY IMMIGRANTS ARE COMING FROM ALL OVER CHINA: “THERE’S A LOT OF INFLUX OF PEOPLE FROM CHINA THAT AREN’T FROM THE SAME AREA, BECAUSE TRADITIONALLY, THE PEOPLE WERE ALL FROM THE SAME AREA AND SPOKE THE SAME DIALECT AND HAD THAT SORT OF THING KEEPING THEM TOGETHER AS A COMMUNITY OVERSEAS FROM CHINA.” PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG AND THEIR IMMIGRATION TO CANADA ARE BELOW: MAY LEE: MAY WAS ACTUALLY BORN IN CANADA AND IS KNOWN AS A GOLD MOUNTAIN GIRL, BECAUSE SHE IS A CANADIAN-BORN CHINESE WOMAN. MAY EXPLAINS: “I WAS BORN IN CANADA. I WAS BORN IN NANOOSE BAY. WHEN I WAS 4 YEARS OLD, WE MOVED TO VICTORIA. WHEN I WAS 9 YEARS OLD AND THE WHOLE FAMILY, IN 1930, GO BACK TO CHINA.” DURING THE WAR, THE JAPANESE BOMBED THE GIRLS’ HIGH SCHOOL IN TOCSIN CITY AND MAY’S MOTHER DECIDED TO SEND MAY AND HER BROTHER TO HONG KONG TO START THE PROCESS OF COMING TO CANADA. MAY STARTED ENGLISH SCHOOL IN HONG KONG, BUT OFTEN MISSED CLASSES BECAUSE SHE WAS SICK FROM THE HEAT. SHE SAYS THAT SHE’S LEARNED MOST OF HER ENGLISH FROM HER HUSBAND, HER CHILDREN, GRANDCHILDREN, AND EVEN GREAT-GRANDCHILDREN. SHE WAS MARRIED TO HOM MEN LEE, AKA JIMMY LEE, ON NOVEMBER 16, 1938 IN VICTORIA, BC. JIMMY WAS BORN IN LETHBRIDGE AT THE GALT HOSPITAL, BUT WAS SENT BACK TO CHINA AS A CHILD FOR HIS EDUCATION. JIMMY’S FAMILY HAD COME TO LETHBRIDGE IN 1914 AND OWNED LEE-DUC CLEANERS. THE LEE FAMILY LIVED ABOVE THE SHOP, WHICH WAS ON 13TH STREET NORTH, NEAR HIGA’S JEWELERS. MAY’S MAIN MEMORY OF CHINATOWN: “ALL I REMEMBER IN CHINATOWN, IN SUMMERTIME, LOTS OF OLD GUYS SITTING IN FRONT OF GUOMINDANG. AUNTIE HELEN GREW UP IN CHINATOWN. I THINK SHE KNOWS MORE ABOUT CHINATOWN. IN THE OLDEN DAYS, I HARDLY GO OUT, JUST TO BUY GROCERIES.” JUDY ADDED THAT MAY HAD 8 CHILDREN AND WAS KEPT BUSY AT HOME RAISING THEM. RICHARD LOO: RICHARD ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. RICHARD’S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO RICHARD, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). RICHARD’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED RICHARD TO MOVE TO LETHBRIDGE AS WELL. RICHARD LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE FINALLY ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT RICHARD WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, RICHARD RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY NOTHING. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL YOU COULD SAY, JUST ANYWAYS HOW TO SAY ‘HELLO’ – SO, ANYWAY, SO IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” RICHARD INITIALLY LIVED IN THE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. RICHARD RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. HONG WONG: HONG ARRIVED IN LETHBRIDGE IN 1951 AND WAS INVITED TO THE CITY BY HIS UNCLE SHUEY WONG, WHO WAS ALREADY LIVING HERE. UNCLE SHUEY HAD COME TO CANADA SEVERAL YEARS BEFORE AND HAD HAD TO PAY THE $500 HEAD TAX. HONG TRAVELED WITH HIS BROTHER FROM MAINLAND CHINA TO HONG KONG, IN ORDER TO GO TO THE CANADIAN EMBASSY. ON HIS FERRY RIDE TO HONG KONG, HE WAS SHOT BY BANDITS AND WAS REQUIRED TO STAY IN THE HOSPITAL FOR QUITE SOME TIME TO RECOVER. HIS BROTHER ELECTED TO REMAIN IN HONG KONG, AS HIS MOTHER-IN-LAW LIVED IN THE CITY AND GOT HONG’S BROTHER WORK IN A THEATRE. TO GET TO CANADA, HONG FLEW FROM JAPAN TO GUAM, TO VANCOUVER, AND THEN FINALLY TO LETHBRIDGE. HIS FIRST IMPRESSION OF LETHBRIDGE: COLD. HONG SAID: “’WELL, IN HONG KONG IT WAS AROUND MAYBE 20 SOME 30 ABOVE. AND HERE, AT THAT TIME, MAYBE 20 BELOW, OR 20 SOME BELOW. I DIDN’T HAVE THE EAR MUFFS. I SAID, ‘GEE, I’M NOT SO HAPPY HERE, IT SEEMS SO COLD.’” UNCLE SHUEY TOLD HONG THAT IT WAS ONE OF THE COLDEST WINTERS HE COULD REMEMBER. HONG WORKED FOR HIS UNCLE IN HIS SHOP ON 9TH AVENUE, DOING CHORES AROUND THE STORE, UNTIL HIS ENGLISH HAD IMPROVED ENOUGH SO THAT HE COULD SERVE CUSTOMERS. HE JOINED THE CHINESE NATIONALIST LEAGUE SOCIETY ALMOST AS SOON AS HE ARRIVED: “WHEN I CAME HERE, I JOINED IN THE SAME YEAR BECAUSE MY UNCLE WAS A MEMBER. SO THAT’S WHY HE GOT ME IN TO BE A MEMBER. OH, AT THAT TIME, I BET, 95% OF THE CHINESE PEOPLE THEY BELONG TO THE CHINESE NATIONAL LEAGUE, I BELIEVE.” HE CONTINUED, SAYING THAT YOU COULDN’T BE A MEMBER OF BOTH THE SOCIETY AND THE MASONS, AND HE BELIEVES ABOUT 5% OF THE CITY’S CHINESE POPULATION WOULD HAVE BELONGED TO THE MASONS. HE ADDED: “BUT WE ARE STILL FRIENDS, STILL FRIENDS. WE’RE NOT ENEMY OR ANYTHING BUT, IT’S JUST THAT THE ORGANIZATIONS ARE DIFFERENT. THAT’S ALL.” HONG ENJOYED THE CAMARADERIE OF THE SOCIETY. HE SAID: “I REMEMBER, I LIKE IT BECAUSE THEY HAVE THE PARTY AND SO MANY PEOPLE. AND THEN YOU MEET ALL THE CHINESE PEOPLE THERE IN THE ONE GROUP. WELL, ANYWAY, WHEN YOU SEE SO MANY PEOPLE IN ONE PARTY, AND THEN WHEN THEY COME OUT MOSTLY THE PEOPLE THAT PARTY AND IT FEELS LIKE A LOTS OF FRIENDS OR EVEN LIKE THE FAMILY. SO YOU FEEL GOOD, YOU FEEL BETTER, AND THEN, WELL, MY UNCLE BELONGS THERE TOO AND THEN THE OTHERS BELONG THERE TOO, YEAH, EVERYBODY LIKE IN THE BIG FAMILY. YES, NICE, OTHERWISE YOU DON’T HAVE ANY FRIENDS, YOU DON’T MEET ANYBODY, IF YOU NOT BELONG THERE, I THINK NOT SO FRIENDLY TO YOU.” HONG INDICATED THAT WHEN A SPECIAL MEAL WAS HELD AT THE SOCIETY, IT WAS THE MEN WHO DID THE COOKING: “AT THAT TIME JUST ABOUT EVERYBODY KNOWS HOW TO COOK BECAUSE MOSTLY WE WORK IN THE KITCHEN WHEN THEY CAME HERE.” HE SAID THAT DINERS WOULD PAY A SMALL FEE TO EAT AT THE LEAGUE WHEN SPECIAL MEALS WERE PUT ON. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES AND FOR INTERVIEW TRANSCRIPTS.
Catalogue Number
P20110031021
Acquisition Date
2011-11
Collection
Museum
Images
Less detail
Other Name
“THE ART OF IRON” BY JOHN D. MACDONALD
Material Type
Artifact
Materials
CANVAS, WOOD, METAL
Catalogue Number
P20160026000
  1 image  
Material Type
Artifact
Other Name
“THE ART OF IRON” BY JOHN D. MACDONALD
Date
2009
Materials
CANVAS, WOOD, METAL
No. Pieces
1
Height
2
Length
59.5
Width
40.5
Description
PHOTOGRAPH PRINTED ONTO CANVAS AND MOUNTED ONTO WOODEN FRAME. DEPICTS LETHBRIDGE’S VIADUCT AND RIVER VALLEY, FRAMING ONE-AND-A-HALF OF THE BRIDGE’S TRESTLES. PHOTOGRAPH SPILT BY HORIZON LINE AT CENTER, WITH PREDOMINANTLY BLUE TOP-HALF AND PREDOMINANTLY GREEN BOTTOM-HALF. TAKEN FROM THE UNIVERSITY OF LETHBRIDGE THROUGH MULTIPLE WINDOWS, RESULTING IN BLURRED IMAGE. AT THE BOTTOM-LEFT OF THE CANVAS, ““THE ART OF IRON” JOHN D. MACDONALD MADE IN CANADA 2009” WRITTEN IN BLACK INK. “MADE IN CANADA,” “MACDONALD,” AND “THE ART OF IRON” PRINTED ON THE LEFT OF BOTTOM SIDE OF THE CANVAS.
Subjects
ART
Historical Association
FINE ARTS
History
JOHN D. MACDONALD’S FATHER WAS A MEMBER OF THE ROYAL CANADIAN AIR FORCE. ACCORDING TO MACDONALD, HIS FAMILY MOVED AROUND “AN AWFUL LOT, AND I DIDN’T REALLY HAVE A PLACE THAT I CALLED HOME.” AS AN ADULT, MACDONALD (BORN 1949) LIVED IN SASKATCHEWAN FOR APPROXIMATELY TWENTY-SEVEN YEARS. HE MOVED TO LETHBRIDGE IN THE EARLY-TO-MID 2000S WITH HIS TWO DAUGHTERS AFTER ONE ENROLLED IN THE UNIVERSITY OF LETHBRIDGE. HE DESCRIBED LETHBRIDGE AS THE “PRETTIEST CITY I’VE EVER LIVED IN,” ALSO REMARKING ON ITS PROXIMITY TO THE ROCKY MOUNTAINS. MACDONALD IS THE NEPHEW OF SASKATOON-BASED AUTHOR RUSTY H. MACDONALD. ACCORDING TO HIS LINKEDIN PROFILE, AS OF 2017, MACDONALD WAS A MEMBER OF THE ALLIED ARTS COUNCIL (ACC) OF LETHBRIDGE AND A LONG-TIME VOLUNTEER AT LETHBRIDGE’S STREETS ALIVE MISSION AND SALVATION ARMY. HE HAD DONATED HIS WORKS TO, AND FOR THE BENEFIT OF, THE LETHBRIDGE’S ALZHEIMER SOCIETY. HE WAS ALSO AN ADVOCATE FOR ENVIRONMENTAL JUSTICE. MACDONALD CHOSE TO DONATE "THE ART OF IRON" TO THE GALT MUSEUM & ARCHIVES BECAUSE OF ITS DEPICTION OF LETHBRIDGE’S VIADUCT, THE HIGH LEVEL BRIDGE, WHICH, IN HIS OPINION, IS “SUCH A LANDMARK IN LETHBRIDGE.” HIS INTERPRETATION OF THE WORK IS AS FOLLOWS: “THE BRIDGE IS MADE OF IRON, BUT IN THE CANVAS ART PIECE, THE IRON SUDDENLY TURNS INTO ART AS THE LIGHT CHANGES THERE’S MORE COLOURS INVOLVED HERE. THE COLOURS REMIND ME OF THE MULTI-CULTURAL COMMUNITY THAT WE HAVE HERE IN LETHBRIDGE. ALSO, THE BRIDGE SIGNIFIES THE JOINING OF THE WEST SIDE TO THE EAST SIDE, AS IN A FRIENDLY HANDSHAKE.” MACDONALD WENT ON TO SAY THAT, “IT SORT OF REMINDS ME OF WATER COLOURS, BECAUSE [OF ITS] GENTLE COLOURS. THERE’S NO STRONG COLOUR IN THERE, AND THERE’S NO REALLY SHARP SURFACES IN THERE. IT’S ALL JUST SORT OF SOFT. IT HAS A SOFT NATURE TO THE LOOK.” WHEN ASKED ABOUT THE DAY HE TOOK THE PHOTOGRAPH, MACDONALD SAID, “MY DAUGHTER DROPPED ME OFF AT THE UNIVERSITY, ‘DAD I’LL PICK YOU UP IN AN HOUR.’ SO, I HAD AN HOUR TO SHOOT THIS PARTICULAR ART PIECE. I THINK I WENT THROUGH EVERY SINGLE PIECE OF GLASS IN THAT BUILDING THAT I WAS IN AT THE UNIVERSITY TO FIND THE PERFECT PIECE OF GLASS TO USE FOR MY ART. IT WAS A SUNNY DAY, A SUMMER DAY. THE SUN WAS JUST RIGHT. THE TIME WAS RIGHT. I PICKED THE TIME DUE TO THE SUN AND REFLECTIONS AND SO FORTH. YEAH. I CAN STILL REMEMBER THAT DAY.” MACDONALD TOOK THE PHOTOGRAPH FROM AN UNDISCLOSED LOCATION AT THE UNIVERSITY OF LETHBRIDGE. "THE ART OF IRON" WAS EXHIBITED AT THE BOWMAN ARTS CENTER, BEFORE IT WAS EXPANDED AND REPLACED BY CASA, IN A “JURIED SOLO DISPLAY.” ACCORDING TO HIS LINKEDIN PROFILE, MACDONALD COMPLETED A ONE-YEAR COURSE, BETWEEN 1978 AND 1979, IN FILM, VIDEO AND PHOTOGRAPHIC ARTS AT BRIGHTON COLLEGE IN TRENTON, ONTARIO. MACDONALD ATTRIBUTED HIS CREATIVITY TO HIS UNCLE RUSTY, AS WELL AS TO HIS MOTHER: “MY MOTHER USED TO PAINT. I’D COME HOME FROM SCHOOL, THERE’D BE TURPENTINE SMELLS AND SHE’D BE PAINTING AWAY, OR SHE’D BE DOING POTTERY OR GOD KNOWS WHATEVER. SHE WORKED IN SEVERAL DIFFERENT MEDIUMS SO SHE HERSELF WAS CREATIVE THAT WAY. NOT IN A RECOGNIZED WAY, BUT SHE WAS THERE.” IN 2008, AFTER PURCHASING A NIKON CAMERA WITH A TELEPHOTO LENS, HE BEGAN TO PRACTICE PICTURE-TAKING AS A SERIOUS ARTISTIC ENDEAVOR. MACDONALD SAID THAT, “I PRACTICED FOR A YEAR-AND-A-HALF. I WENT OUT EVERY DAY AND I PRACTICED AND I PRACTICED AND I PRACTICED. SOMEHOW, THROUGHOUT THAT PROCESS, I THINK IT IGNITED THE CREATIVE SPARK IN ME.” MACDONALD WOULD SHOOT THROUGH MULTIPLE LAYERS OF GLASS, USUALLY WINDOWS, WITHOUT DIGITALLY EDITING HIS PHOTOGRAPHS AFTERWARDS. HIS PHOTOGRAPHS GENERALLY APPEAR ABSTRACT. IN 2009, MACDONALD SOLD FOUR OF HIS PHOTOGRAPHS, PRINTED ON CANVAS, TO THE UNIVERSITY OF LETHBRIDGE. ONE OF THESE WAS TITLED "DIRECTIONS". THEY WERE PURCHASED BY THE DIRECTOR OF THE STUDENT’S UNION BUILDING, WHO DESCRIBED THE WORKS AS “UNIQUE, ORIGINAL, AND SINGULAR IN NATURE.” HE ALSO DONATED FOUR PHOTOGRAPHIC WORKS, PRINTED ON PAPER, TO THE UNIVERSITY’S LIBRARY. ACCORDING TO MACDONALD, THIS WAS WHEN HIS ARTISTIC CAREER “STARTED TO TAKE OFF.” AFTER TAKING UP PHOTOGRAPHY AS AN ARTISTIC PRACTICE, MACDONALD BECAME ACUTELY AWARE OF THE CONTRAST BETWEEN LIGHT AND DARK, WHAT HE REFERRED TO AS “SHADING.” “I’M MORE MINDFUL OF SHADING…IT’S ALL ABOUT SHADING. SHADING IS VERY IMPORTANT. BEFORE THAT IT WASN’T A BIG DEAL, BUT IT IS A BIG DEAL. SO THAT’S SORT OF ONE THING THAT’S CHANGED…” MACDONALD’S ARTIST STATEMENT, FROM HIS UNTITLED 2016 EXHIBITION AT CASA, SUMS UP HIS ARTISTIC PHILOSOPHY: “THE CURRENT BODY OF PHOTOGRAPHS I AM CREATING ARE AN EXPLORATION OF HOW THE ‘REAL’ IS MADE ‘UNREAL’ WHEN VIEWED THROUGH REFLECTIVE SURFACES AND THEN FROZEN IN TIME AS A STILL IMAGE. I AM INTERESTED IN INVESTIGATING HOW 1/1000TH OF A SECOND REVEALS A COMPLETELY DIFFERENT WORLD THAT WE ALL WALK PAST WITHOUT EVER PAUSING TO REFLECT UPON. PHOTOGRAPHY CAN BECOME A WAY OF NAVIGATING THIS “ETHER WORLD,” A PLACE WHERE NOTHING STAYS THE SAME, WHERE LIGHT AND REFLECTIONS ARE CONSTANTLY CHANGING AND NEVER THE SAME TWICE. THE SUITE OF PHOTOGRAPHS I AM HOPING TO COMPILE WILL CAPTURE THE DYNAMIC OF REFLECTIONS BOUNCING OFF MULTIPLE GLASS SURFACES, OFTEN MULTIPLE TIMES, REVEALING A FRACTURED AND ABSTRACT IMAGE OF THE WORLD THAT IS, AT ITS HEART, A TRUE AND FAITHFUL RECORD OF THE WORLD WE LIVE IN.” IN 2016, MACDONALD MOVED AWAY FROM PHOTOGRAPHY AND TOWARD FILM AS HIS PREFERRED MEDIUM. HE PRODUCED TWO ART FILMS, ONE OF WHICH WAS SCREENED AT CASA IN NOVEMBER, 2016. DURING HIS INTERVIEW WITH THE GALT MUSEUM & ARCHIVES, IN SEPTEMBER, 2016, MACDONALD WAS IN THE PROCESS OF INDEPENDENTLY PRODUCING A DOCUMENTARY FILM. AS OF 2017, MACDONALD’S PHOTOGRAPHIC WORKS WERE EXHIBITED THREE TIMES AT CASA: TRANSITIONS & TRANSFORMATIONS: NEW WORK BY LETHBRIDGE ARTISTS (GROUP EXHIBITION) AT CASA: MAY 16, 2013 – JUNE 28, 2013; ECHOES IN THE DARK (SOLO EXHIBITION) AT CASA: JANUARY 11, 2014 - FEBRUARY 27, 2014; UNTITLED, FEATURED ON UPSTAIRS WALL AT CASA: APRIL 30, 2016 – JUNE 17, 2016. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE TRANSCRIPTION OF THE 7 SEPTEMBER 2016 INTERVIEW CONDUCTED BY GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN WITH DONOR JOHN MACDONALD - FROM WHICH THE ABOVE QUOTATIONS WERE SOURCED.
Catalogue Number
P20160026000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER, ALEXANDRIEN"
Date Range From
1941
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010001
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER, ALEXANDRIEN"
Date Range From
1941
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
14.4
Length
22
Description
WATERCOLOUR ON PAPER PAINTING THAT DEPICTS A SCENE FROM A PRISONER OF WAR CAMP IN ALEXANDRIA, EGYPT. TOMB WITH CROSS IN FOREGROUND WITH MULTIPLE TENTS BEHIND. SEA IN THE BACKGROUND. THE TITLE, "K. G. LAGER, ALEXANDRIEN," IS WRITTEN IN THE BOTTOM LEFT AND THE ARTIST'S SIGNATURE, "K. ENGEL" IS IN THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD/EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. THE TITLE OF THIS WORK IS "K. G. LAGER ALEXANRIEN". K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THIS SCENE IS A DEPICTION OF A CAMP THAT ENGEL MOST LIKELY SPENT TIME IN BEFORE BEING TRANSFERED TO CANADA IN 1942. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010001
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K.G. LAGER, HELUAN, KAIRO"
Date Range From
1941
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010003
  2 images  
Material Type
Artifact
Other Name
"K.G. LAGER, HELUAN, KAIRO"
Date Range From
1941
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
17.7
Length
25.4
Description
WATERCOLOUR PAINTING ON PAPER DEPICTING A SCENE OF A PRISONER OF WAR CAMP IN CAIRO, EGYPT. THE IMAGE INCLUDES TENTS AND A WATER TAP ON A PLATFORM WITH MOUNTAINS IN THE BACKGROUND. THE PAINTING IS TITLED "K. G. LAGER, HELUAN, KAIRO" ON THE BOTTOM LEFT CORNER AND IS SIGNED BY THE ARTIST, "K. ENGEL" IN THE BOTTOM RIGHT. THERE IS A CIRCULAR CENSOR STAMP ON THE BACK SIDE THAT READS "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: MARKS ACROSS EACH CORNER ON THE FRONT SIDE; FOXING ON THE BOTTOM LEFT QUADRANT OF WORK AND ALONG THE UPPER BACK EDGE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. THE TITLE OF THIS WORK IS "K. G. LAGER ALEXANRIEN". K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THIS SCENE IS A DEPICTION OF A CAMP THAT ENGEL MOST LIKELY SPENT TIME IN BEFORE BEING TRANSFERED TO CANADA IN 1942. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010003
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER KAIRO"
Date Range From
1941
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010004
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER KAIRO"
Date Range From
1941
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
22
Length
29.3
Description
WATERCOLOUR PAINTING ON PAPER DEPICTING A PRISONER OF WAR CAMP IN CAIRO, EGYPT. THE SCENE HAS A WATER TAP ON A PLATFORM WITH A CLOTHESLINE RUNNING FROM IT TO A POST OUTSIDE ONE OF THE FIVE TENTS DISPLAYED IN THE PAINTING. A FIGURE IS IN THE BACKGROUND AT A GUARD POST. MOUNTAINS ARE IN THE BACKGROUND ON THE RIGHT SIDE. THERE IS A BLANK BORDER AROUND ALL FOUR EDGES OF WORK. THE PAINTING IS TITLED "K. G. LAGER KAIRO" ON THE BOTTOM LEFT AND SIGNED BY THE ARTIST, "K. ENGEL" ON THE BOTTOM RIGHT. THE BACK SIDE HAS A CIRCULAR CENSOR STAMP THAT READS "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; FOXING IN UPPER RIGHT QUADRANT OF FRONT AND ON THE BOTTOM RIGHT OF BACK. SLIGHT WRINKLING AT THE 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 TITLE OF THIS WORK IS "K. G. LAGER ALEXANRIEN". K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THIS SCENE IS A DEPICTION OF A CAMP THAT ENGEL MOST LIKELY SPENT TIME IN BEFORE BEING TRANSFERED TO CANADA IN 1942. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010004
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"ROM, KOLOSSEUM"
Date Range From
1941
Date Range To
1946
Material Type
Artifact
Materials
INK, PAPER
Catalogue Number
P20160010005
  2 images  
Material Type
Artifact
Other Name
"ROM, KOLOSSEUM"
Date Range From
1941
Date Range To
1946
Materials
INK, PAPER
No. Pieces
1
Height
18.2
Length
26.2
Description
INK PAINTING ON PAPER. THE PAINTING IS IN A SEPIA TONE RENDERING OF RUINS, ALONG WITH BUSHES AND TRESS. THERE IS A BLANK BORDER AROUND ALL FOUR SIDES. THE WORK IS TITLED, "ROM, KOLOSSEUM," ON THE BOTTOM LEFT AND SIGNED BY ARTIST, "KARL ENGEL" ON THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: THE TOP AND BOTTOM EDGES OF PAPER ARE SLIGHTLY WRINKLED. STAIN ON THE UPPER RIGHT QUADRANT OF THE BACK.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010005
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"ROCKY MOUNTAINS, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
CHARCOAL, GRAPHITE, PAPER
Catalogue Number
P20160010006
  2 images  
Material Type
Artifact
Other Name
"ROCKY MOUNTAINS, KANADA"
Date Range From
1942
Date Range To
1946
Materials
CHARCOAL, GRAPHITE, PAPER
No. Pieces
1
Height
22.7
Length
30.5
Description
GRAPHITE AND CHARCOAL DRAWING ON PAPER. TREES IN FRONT OF MOUNTAINS SET IN BACKGROUND WITH ONE LARGER TREE IN FOREGROUND. WHITE CHARCOAL SMUDGING OVER THE SURFACE OF DRAWING. BLANK AREA OF PAPER BORDERING THE WORK. THE WORK IS SIGNED "ROCKY MOUNTAINS, KANADA" ON THE BOTTOM LEFT AND "KARL ENGEL" ON THE BOTTOM RIGHT. BACK SIDE IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLECT CONDITION: OVERALL YELLOWING OF THE PAPER; STAIN ON THE UPPER RIGHT EDGE; WRIKLE ON THE UPPER EDGE; RUBBING MARKS ON ENTIRE SURFACE OF BACK SIDE.
Subjects
ART
Historical Association
MILITARY
FINE ARTS
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 THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010006
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER OZADA KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
GRAPHITE. PAPER
Catalogue Number
P20160010007
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER OZADA KANADA"
Date Range From
1942
Date Range To
1946
Materials
GRAPHITE. PAPER
No. Pieces
1
Height
22.8
Length
30.5
Description
GRAPHITE DRAWING ON PAPER. SCENE OF CAMP WITH 5 TENTS. CLOTHESLINE IN FOREGROUND. HILLS AND MOUNTAINS BEHIND CAMP. BLANK BORDER AROUND THE SCENE. THE WORK IS SIGNED "K. G. LAGER OZADA KANADA" ON THE BOTTOM LEFT AND "COP. KARL ENGEL" ON THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; MODERATE WRINKLING OF THE UPPER LEFT EDGE; OVERALL RUBBING AND WRINKING ON THE EDGES 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. 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 "K. G. LAGER OZADA KANADA," DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010007
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER, OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
GRAPHITE, PAPER
Catalogue Number
P20160010008
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER, OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Materials
GRAPHITE, PAPER
No. Pieces
1
Height
22.9
Length
30.4
Description
GRAPHITE DRAWING ON PAPER DEPICTING SCENE OF THE CAMP IN OZADA. THE IMAGE INCLUDES TENTS, CLOTHESLINE, GUARD TOWER WITH HILLS AND MOUNTAINS IN BACKGROUND. BLANK BORDER AROUND THE SCENE. THE DRAWING IS SIGNED, "K. G. LAGER, OZADA, KANADA" IN THE BOTTOM LEFT AND THE ARTIST SIGNED THE WORK "KARL ENGEL" ON THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; WRINKLING AT CORNERS; AND FOLD AT THE TOP RIGHT CORNER. RUBBING MARKS ON ENTIRE SURFACE OF THE BACK SIDE.
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 "K. G. LAGER, OZADA, KANADA," DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010008
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER OZADA KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
GRAPHITE, PAPER
Catalogue Number
P20160010009
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER OZADA KANADA"
Date Range From
1942
Date Range To
1946
Materials
GRAPHITE, PAPER
No. Pieces
1
Height
22.8
Length
30.4
Description
GRAPHITE ON PAPER DRAWING DEPICTS SCENE OF A CAMP WITH SEVERAL TENTS IN FRONT OF A FENCE AND WATCH TOWER. MOUNTAINS IN THE BACKGROUND. BLANK BORDER ON PAPER AROUND THE SCENE. THE WORK IS TITLED, "K. G. LAGER OZADA KANADA", ON THE BOTTOM LEFT AND SIGNED BY THE ARTIST, "KARL ENGEL", ON THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED, "INT. OP. CANADA CENSORED." VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER AND WRINKLING AT THE UPPER LEFT EDGE. RUBBING ON THE OVERALL SURFACE ON THE BACK SIDE.
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 THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THIS DRAWING, TITLED "K. G. LAGER OZADA KANADA," DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010009
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER, OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
GRAPHITE, PAPER
Catalogue Number
P20160010010
  1 image  
Material Type
Artifact
Other Name
"K. G. LAGER, OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Materials
GRAPHITE, PAPER
No. Pieces
1
Height
22.8
Length
29.9
Description
GRAPHITE DRAWING ON PAPER DEPICTING SCENE OF CAMP WITH TENTS ON THE LEFT SIDE. FENCING RECEDING FROM THE BOTTOM RIGHT OF THE SCENE INTO THE BACKGROUND. GUARD TOWERS ON THE RIGHT SIDE OF THE FENCES. MOUNTAINS IN THE BACKGROUND. BLANK BORDER AROUND THE IMAGE. THE WORK IS TITLED, "K. G. LAGER, OZADA, KANADA", ON THE BOTTOM LEFT. THE BACK SIDE IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER WITH WRINKLING AT THE UPPER LEFT 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). HE WAS TRANSFERRED THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THIS DRAWING, TITLED "K. G. LAGER OZADA KANADA," DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010010
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"K. G. LAGER OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
CHARCOAL, PAPER
Catalogue Number
P20160010011
  2 images  
Material Type
Artifact
Other Name
"K. G. LAGER OZADA, KANADA"
Date Range From
1942
Date Range To
1946
Materials
CHARCOAL, PAPER
No. Pieces
1
Height
24.4
Length
35.4
Description
CHARCOAL DRAWING ON PAPER OF A CAMP SCENE INCLUDING TENTS RECEDING FROM THE LEFT SIDE OF THE DRAWING DIAGONALLY TOWARDS THE RIGHT EDGE. MOUNTAINS IN THE BACKGROUND AND THE SKY HAS CLOUDS. THE DRAWING IS TITLED "K. G. LAGER OZADA, KANADA" IN THE BOTTOM LEFT AND SIGNED BY ARTIST, "K. ENGEL," ON THE BOTTOM RIGHT. NO MARKINGS ON THE BACK SIDE. VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER; SLIGHT WRINKLING AT THE EDGES; AND MODERATE WRINKLING ON THE RIGHT EDGE. FOXING ON THE BOTTOM LEFT 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). HE WAS TRANSFERRED THE PRISONER OF WAR CAMP 133 IN OZADA IN THE ROCKY MOUNTAINS OF CANADA ON 25 JULY 1942. THIS DRAWING, TITLED "K. G. LAGER OZADA KANADA," DEPICTS THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK, EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. HE WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN CONTINUED TO EXPLAIN THAT ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010011
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
P20160010012
  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
14.7
Length
19.6
Description
WATERCOLOUR ON PAPER PAINTING OF TOWNSITE WITH A YELLOW AND GREEN BRICK BUILDING ON THE RIGHT SIDE OF THE SCENE. CLOTHESLINE IN FRONT OF BUILDING, TELEPHONE LINES IN TOWN, AND RED AND GREEN BUILDINGS IN THE BACKGROUND. THE PAINTING IS TITLED, "K. G. LAGER, LETHBRIDGE, KANADA", IN THE BOTTOM LEFT AND IS SIGNED BY THE ARTIST, "KARL ENGEL" IN THE BOTTOM RIGHT. THE BACK SIDE IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER AND FOLD AT THE TOP LEFT CORNER. SLIGHT WRINKLING AT ALL CORNERS. SLIGHT FOXING ON UPPER LEFT QUADRANT.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING IS TITLED, "K. G. LAGER, LETHBRIDGE, KANADA" AND IS A DEPICTION THAT CAMP. K. G. LAGER IS AN ABBREVIATION FOR FOR KRIEGSGEFANGENENLAGER, WHICH MEANS PRISONER OF WAR CAMP IN GERMAN. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010012
Acquisition Date
2016-01
Collection
Museum
Images
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44 records – page 1 of 3.