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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. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
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) FURTHER IN HER BOOK "A LEGACY OF ADVENTURE AND ART", 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." 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, 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." THE DONOR'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
N.T. (PARK LAKE POW HOSTEL)
Material Type
Artifact
Materials
PAPER, WATERCOLOUR, WOOD
Catalogue Number
P20160004000
  2 images  
Material Type
Artifact
Other Name
N.T. (PARK LAKE POW HOSTEL)
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. RIGHT SIDE OF HORIZON IS A STAND OF GREEN PINE TREES, WITH FOUR TAN CANVAS TENTS VISIBLE. MOUNTAINS ON THE LEFT SIDE OF PAINTING AT HORIZON. 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 TRACY BATHGATE AND KEVIN SOUTHWELL, CONDUCTED BY KEVIN MACLEAN ON FEBRUARY 2016. TRACY IS THE GRANDDAUGHTER FREDERICK CECIL “CECIL” WOOLDRIDGE, WHO ACQUIRED THE PAINTING FROM A PRISONER OF WAR. TRACY 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 THIS PAINTING WAS WANTED, KEVIN SOUTHWELL REPLIED THAT BOTH TRACY’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.” TRACY 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.” TRACY 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. 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 AND IS THE GRANDFATHER OF THE DONOR. 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 THE SECOND WORLD WAR 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
MAHJONG SET
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20150028000
  2 images  
Material Type
Artifact
Other Name
MAHJONG SET
Date
1987
Materials
PLASTIC
No. Pieces
159
Height
9.6
Length
23
Width
23
Description
A – G: 7 STANDARD 6-SIDED DICE. 6 OF THE DICE HAVE BLACK DOTS ON A WHITE BACKGROUND, EXCEPT RED DOTS FOR THE ONE AND THE FOUR ON ALL DICE. THE SEVENTH DIE IS THE SAME AS THE FIRST SIX BUT WITH BROWN DOTS INSTEAD OF BLACK. THE DICE ARE 1.4 CM CUBED WITH ROUNDED EDGES. GOOD CONDITION: NORMAL WEAR FROM USE. H-I: A DIRECTIONAL PIECE CUBE (LIKE A DIE) AND A HOLDER. THERE ARE RED CHINESE CHARACTERS ON 4 OF THE 6 SIDES OF THE WHITE CUBE. THE DIE IS 1.2 CM CUBED. THE PIECE’S CIRCULAR HOLDER HAS A RED TOP AND A WHITE BASE WITH A CUBE INSERT IN THE CENTER OF THE TOP THAT FITS THE DIRECTIONAL PIECE. THE HOLDER IS IN FAIR TO GOOD CONDITION. IT IS WELL WORN AND THE EDGES ARE YELLOWING. FAIR TO GOOD CONDITION WITH SOME WEAR TO THE CHARACTERS AND THE CORNERS OF THE DIE. J-BBBBBBB: MAHJONG GAME SET. 144 TILES PLUS 4 BLANK SPARES (148 TILES TOTAL). THERE ARE 108 SIMPLE TILES (OF THE 3 SUITS: DOTS, BAMBOO, AND CHARACTERS), THERE ARE 28 HONOURS TILES (16 WINDS AND 16 DRAGONS), AND THERE ARE TWO SETS OF BONUS TILES (FLOWERS AND SEASONS) EACH WITH 4 TILES IN THE SET. EACH TILE IS 3.5 X 2.8 X 2.1 CM. VERY GOOD TO EXCELLENT CONDITION WITH SLIGHT SCUFFING ON THE TILES. CCCCCCC – DDDDDDD: GREEN RUBBERMAID PLASTIC CONTAINER WITH A WHITE PLASTIC LID FOR THE MAHJONG SET’S CASE. THE BOTTOM OF THE CONTAINER READS “RUBBERMAID 4 QUARTS” “J-3204”. THE DIMENSIONS OF THE CONTAINER ARE 23 X 23 X 9.6 CM. THE DIMENSIONS OF THE LID ARE 23 X 24.5 X 1.5 CM. GOOD CONDITION. THE OVERALL SURFACE OF BOTH THE CONTAINER AND THE LID ARE SCRATCHED. ON THE LID, THE TOP COATING OF PLASTIC IS PEELING OFF. THERE IS ADHESIVE TAPE RESIDUE IN ONE CORNER.
Subjects
GAME
Historical Association
ETHNOGRAPHIC
LEISURE
History
ON NOVEMBER 10, 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RICHARD LOO AT THE GALT MUSEUM REGARDING A MAHJONG SET HE WAS DONATING TO THE MUSEUM. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MAHJONG IS A TILE-BASED GAME THAT ORIGINATED IN CHINA. LOO RECALLS ACQUIRING THE SET APPROXIMATELY 30 OR 40 YEARS AGO. HE SAID HE GOT THEM, “WHEN I WENT BACK TO HONG KONG. LET’S SEE – ’87. I WENT TO HONG KONG IN ’87. I BOUGHT SEVERAL [MAHJONG] SETS… TO GIVE TO THE KIDS IF THEY WERE INTERESTED. HERE, THEY ARE NOT AVAILABLE – NOT IN THIS CITY. YOU CAN GET IT IN CALGARY, BUT, IF I BROUGHT IT BACK FROM CHINA, IT’S A BETTER DEAL FOR ME… I STILL HAVE A COUPLE OF SETS AT HOME. I GIVE SOME TO MY FRIENDS; SOME TO THE KIDS.” WHEN ASKED ABOUT HIS USE OF GAME SET, LOO EXPLAINED, “I USE IT NOT TOO MANY TIMES… THEY COME IN A CASE – LIKE A BRIEFCASE - JUST FLIMSY STUFF. IF IT WAS USED SO LONG, IT WOULD JUST GO IN PIECES. SO I PUT IT INTO CONTAINERS – KEEPS A BETTER SHAPE, THAT’S ALL.” HE EXPLAINS THAT THE GAME IS PLAYED, “MOSTLY AT HOME. TO FOOL AROUND; JUST TO KILL TIME,” AND THAT THE SET DONATED WAS A PERSONAL SET THAT HAS ALWAYS BEEN AT LOO’S HOUSE. “THERE ARE SO MANY DIFFERENT STYLES OF PLAY. WHEN I CAME, IN THOSE DAYS, WE PLAYED A DIFFERENT WAY, AND AFTER YOU STAYED FOR A LITTLE WHILE, THEY PLAYED A DIFFERENT WAY… YOU PLAY THIS GAME MORE GENERALLY FOR ENTERTAINMENT, KILLING TIME; THE PURPOSE IS NOT TO MAKE MONEY… SEE, I REMEMBER THOSE DAYS, WHEN I WAS YOUNG – JUST A KID THOSE DAYS, IN THE OLD COUNTRY, OLD DAYS. IN THE NEW YEAR, I SAW FOUR OLDER GENTLEMEN PLAY THESE GAMES, BUT I DON’T UNDERSTAND…. WE CALL IT OLD STYLE. NOBODY IS INTERESTED IN PLAYING OLD STYLE ANYMORE. [IT IS] QUITE COMPLICATED... THEY PLAY THIS ONE, JUST LIKE YOU PLAY RUMMY, BUT YOU HAVE TO USE YOUR HEAD A LITTLE BIT. SOMETIMES YOU’VE GOT LUCK TOO." LOO SAYS HE DOES NOT MISS PLAYING THE GAME, “FOR MY AGE, NO. RIGHT NOW, NOT INTERESTED - [I'VE] GOT OTHER THINGS TO DO. YOU PLAY FOR SO LONG, AND THEN, [YOU ARE] NOT INTERESTED ANYMORE. WE USED TO PLAY THIS ON NEW YEAR’S EVE, TILL THE NEXT MORNING. [WE WOULD] START ON NEW YEAR’S EVE TILL TOMORROW MORNING, 6 OR 7 O’CLOCK. NOT ANYMORE. WE PLAYED AT ALBERT’S PLACE, BOW ON TONG…” THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT RICHARD LOO HAS BEEN TAKEN FROM THE ARTIFACT RECORDS P20110031*: LOO ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. LOO'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 LOO, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). LOO’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 LOO TO MOVE TO LETHBRIDGE AS WELL. LOO LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE 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 LOO 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, LOO RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY [ANYTHING]. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL I COULD SAY, JUST HOW TO SAY ‘HELLO.' 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.” LOO INITIALLY LIVED IN THE NATIONAL LEAGUE 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. LOO 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. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION
Catalogue Number
P20150028000
Acquisition Date
2015-11
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
IRON, WOOD, PLASTIC
Catalogue Number
P20170008000
  2 images  
Material Type
Artifact
Date
1930
Materials
IRON, WOOD, PLASTIC
No. Pieces
27
Height
67
Length
35
Width
35
Description
WOOD AND IRON COIN-OPERATED SLOT MACHINE. A: BODY OF SLOT MACHINE WITH FRONT MADE OF IRON WITH RELIEF DESIGNS INCLUDING STARS. DESIGNS ARE PAINTED RED, GREEN, AND ORANGE. TOP OF THE MACHINE HAS A COIN SLOT THAT READS “5¢” EMBOSSED IN THE CENTER OF AN ORANGE PAINTED CIRCLE. BELOW ARE THREE REELS PLACED ON THE INSIDE OF THE MACHINE, VISIBLE FROM THE FRONT THROUGH THREE HOLLOW WINDOWS. THE REELS ARE CREAM-COLOURED WITH VARIOUS IMAGES OF FRUIT VERTICALLY ON THE CIRCULAR REEL. BLACK TEXT IS OVERLAID OVER THE FRUIT. EXAMPLE: THE LEFT REEL IS STOPPED AT CHERRIES WITH BLACK TEXT READING, “JOY AWAITS… COMPANY IN TWINS”. TO THE RIGHT OF THE WINDOWS IS A SCORE CARD WITH THE FRUIT IN THE LEFT COLUMN AND THEIR CORRESPONDING SCORE IN THE RIGHT CORNER (“20” AT THE TOP TO “2” AT THE BOTTOM). BELOW THE REEL SECTION ARE TWO RECTANGULAR TEXT PANELS, PAPER BEHIND PLASTIC WINDOWS. BOTH PANELS HAVE TITLES IN ORANGE TYPE – THE LEFT READS, “WATCH REELS… FORTUNE,” AND THE RIGHT READS, “YOUR NICKEL…” INSTRUCTIONS BELOW THE TITLES ARE PRINTED IN BLACK TEXT. THE LARGEST SECTION OF THE METAL FACE OF THE SLOT MACHINE HAS A RECTANGULAR GLASS WINDOW (GLASS IS SEVERELY CRACKED AND DISCOLOURED). THE WINDOW IS INSET IN PART OF THE MACHINE THAT IS PAINTED GREEN WITH ORANGE AND BLACK DESIGNS. THERE IS ONE OVAL WINDOW ON EITHER SIDE OF THE LARGE RECTANGULAR WINDOW. THERE IS A SLOT FOR TOKENS TO COME OUT ALONG THE FRONT BASE WITH A RED, GREEN, BLACK DESIGN. THE SIDES OF THE MACHINE ARE MADE FROM A DARK-STAINED WOOD WITH A GOLD PAINTED BORDER WITH ORNATE CORNERS. “MILLS NOVELTY” STAMP IN RED PAINT ON THE UPPER LEFT OF LEFT SIDE. RIGHT SIDE IS THE SAME AS THE LEFT, BUT WITH A METAL PLATE NAILED TO SIDE TITLED, “O. K. VENDER… MILLS NOVELTY CO. CHICAGO, ILL.” WITH PATENT INFORMATION LISTEL. METAL CRANK SECURED TO THE CENTER OF THE RIGHT SIDE AND A METAL KNOB ON THE BOTTOM LEFT OF SAME SIDE. THE MACHINE IN SECURED TO A WOODEN BASE. INSIDE OF THE MACHINE HAS VISIBLE REELS AND COMPONENTS FOR MACHINE OPERATION VISIBLE. FAIR CONDITION: MODERATE TO SEVERE WEAR TO OVERALL SURFACE. SIGNIFICANT LOSS OF SURFACE PAINT. WHITE METAL CORROSION VISIBLE ON THE FACE OF THE MACHINE. THE LEFT REEL ARE MODERATELY DISCOLOURED. THE MIDDLE AND RIGHT REEL ARE SEVERELY DISCOLOURED. PAPER BEHIND PLASTIC WINDOWS HAS YELLOWED. THE CRANK AND KNOB ON RIGHT SIDE ARE RUSTING ON OVERALL SURFACE. PATENT LISTING PLATE IS BROKEN AT THE TWO RIGHT CORNERS AT THE NAIL HOLES. WOOD STAIN HAS BEEN LOST IN SOME SURFACE AREAS OF SIDES. INSIDE PARTS OF THE MACHINE ARE SLIGHTLY RUSTED. BOTTOM SCREW LOOSE FROM BASE WHEN LIFTED. B: REMOVABLE BACK COVER OF SLOT MACHINE MADE OUT OF PRESSED SHEET METAL. PAPER ATTACHED TO THE INSIDE OF THE COVER WITH TYPED TEXT READING, “MR. OWNER: ALWAYS BEAR IN … CREATE FRICTION.” DIMENSIONS: 50CM X 3CM. POOR CONDITION: THE PAPER ON THE BACKING IS SIGNIFICANTLY TORN AND DISCOLOURED, RENDERING MUCH OF THE MESSAGE UNREADABLE. SIGNIFICANT DISCOLOURATION SCUFF MARKS ON OVERALL SURFACE. C-AA: 25 PLASTIC TOKENS THAT READ, “LOANED FOR AMUSEMENT ONLY” EMBOSSED ON ONE SIDE AND “PROPERTY OF O.K. VENDOR” ON THE OTHER. DIAMETER: 2 CM; WIDTH: 0.2 CM. FAIR CONDITION: SURFACE DIRT ON SEVERAL COINS. GENERAL WEAR TO COIN SURFACES.
Subjects
GAME
Historical Association
BUSINESS
LEISURE
History
ON 24 FEBRUARY 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH PAM PTYCIA, THE DONOR OF THIS SLOT MACHINE. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: DESCRIBING WHY SHE CHOSE TO DONATE THE SLOT MACHINE TO THE MUSEUM AT THIS SPECIFIC TIME, PAM SAID, “BOTH MY PARENTS HAVE PASSED AWAY. MY DAD JUST PASSED AWAY IN DECEMBER. SO CLEANING OUT THE HOUSE AND EVERYTHING ELSE, WE DECIDED IT WAS TIME… [MY DAD WAS] PETO NICAS [OF] LETHBRIDGE.” SHE AFFIRMED THAT THE SLOT MACHINE BELONGED TO HER GRANDFATHER. PTYCIA'S FATHER THEN PASSED DOWN THE ARTIFACT AND INFORMATION TO HER. PTYCIA EXPLAINED, “THE SLOT MACHINE, I WAS TOLD, WAS IN HIS DAD’S RESTAURANT, THE WHITE LUNCH CAFÉ ON 5TH STREET HERE IN LETHBRIDGE… [HIS DAD’S] NAME WAS ANDREW A. NICAS, HE WAS COMMONLY KNOWN AS SHORTY NICAS HERE IN TOWN… IF THE SLOT MACHINE DID COME FROM THE WHITE LUNCH CAFÉ, I THOUGHT IT MIGHT BE OF SOME INTEREST… BECAUSE THE GREEK COMMUNITY HAS REALLY DWINDLED DOWN. IT’S JUST NOT LIKE IT USED TO BE… I GUESS IT’S JUST THAT IT’S PART OF OUR HERITAGE.” MACLEAN ESTABLISHED THAT PTYCIA WAS BORN IN LETHBRIDGE DURING THE 1960S AND THAT THIS ARTIFACT WAS IN HER CHILDHOOD HOME AS SHE WAS GROWING UP. PTYCIA RECALLED, “I JUST REMEMBER IT BEING DOWNSTAIRS… JUST IN THE AREA WHERE THE LAUNDRY ROOM WAS… I REMEMBER PLAYING IT. IT WORKED BACK THEN… YOU PUT THE COINS IN THE TOP PART. YOU JUST PULL THE LEVER AND LET IT GO AND IF YOU HIT SOMETHING, THE COINS CAME BACK OUT… WHEN I GOT MARRIED AND MOVED OUT, MY DAD GAVE ME [IT] AND IT SAT IN OUR GARAGE FOR 30 SOME YEARS.” DURING THE INTERVIEW, PTYCIA STATED THAT CHRIST GEORGE CHRISTOU WAS HER FATHER’S PARTNER IN THE WHITE LUNCH CAFÉ BUSINESS. FOR FURTHER INFORMATION ABOUT THE WHITE LUNCH CAFÉ, MACLEAN INTERVIEWED CHRISTOU’S SON, DR. VAN CHRISTOU, IN HIS HOME ON 27 FEBRUARY 2017. CHRISTOU BEGAN, “I REMEMBER [THE SLOT MACHINES] VIVIDLY. THEY WERE ALL LINED UP ON THE SOUTH WALL OF THE WHITE LUNCH CAFÉ… ON THE LEFT HAND SIDE, AS YOU WALKED IN… I PLAYED WITH THEM, AS A CHILD... MY DAD GOT THAT IDEA FROM MY UNCLE FRANK, WHO HE BROUGHT OVER TO LETHBRIDGE. [FRANK] OPENED UP A POOL HALL, ACROSS THE ROAD FROM THE RESTAURANT BACK IN THE EARLY DAYS – IN THE ‘20S, I THINK – AND THEN MOVED TO BANFF. HE HAD SLOT MACHINES IN THAT [POOL HAT], AND HAD THEM IN BANFF AGAIN AND [HE] TALKED DAD INTO HAVING THEM IN THE RESTAURANT – THEY WERE A GOOD SOURCE OF INCOME.” HE EXPLAINED, “PEOPLE WOULD STAND AT THE SLOT MACHINES… THE RESTAURANT WAS DESIGNED WITH A HORSE-SHOE COUNTER ALL THE WAY AROUND, AND IT LEFT ENOUGH SPACE FOR THESE TO BE ALONG THE WALL, SO IT WAS JUST ‘STAND UP’ THE WAY YOU DO IN THE CASINOS. THERE WERE NO STOOLS FOR THOSE, BUT THEY HAD THEM FOR A NUMBER OF YEARS.” CHRISTOU WAS A CASHIER AT THE WHITE LUNCH AT THE AGE OF FIFTEEN TO SIXTEEN YEARS. HE WORKED ONLY ON SATURDAYS, AND STATED HE ENJOYED IT. HE SAID, “I LEARNED A LOT ABOUT BUSINESS – GIVING CHANGE, AND CONNECTING WITH A LOT OF THE BUSINESS PEOPLE THAT WERE IN THE AREA, AND GOT JOBS WITH THEM… BY THE TIME I WAS CASHIER, THEY HAD STOPPED USING [THE SLOT MACHINE]. I THINK THEY WERE OUT-LAWED. I THINK THERE WAS A CIVIC BY-LAW THAT FORBADE SLOT MACHINES, SO THEY WEREN’T IN USE AT THAT POINT. IT WAS EARLIER, WHEN I WAS YOUNGER, THAT I REMEMBER THEM BEING USED.” THE SLOT MACHINES WERE A SECONDARY MEMORY OF HIS FATHER’S WHITE LUNCH CAFÉ. CHRISTOU EXPLAINED, “TO ME, IT WASN’T AN IMPORTANT PART OF THE RESTAURANT BUSINESS. THE THINGS THAT I REMEMBER ARE MY DAD MAKING BANANA SPLITS; HE HAD A WONDERFUL SODA FOUNTAIN. THE FRONT OF THAT HORSE-SHOE WAS A MARBLE SODA FOUNTAIN – A MARVELOUS SODA FOUNTAIN – AND HE LOVED DOING THAT – MAKING MILKSHAKES, AND ALL KINDS OF SUNDAES, AND BANANA SPLITS." CONTINUING, HE EXPLAINED, “MY FATHER STARTED THE WHITE LUNCH CAFÉ IN 1907… [IT] WAS LOCATED IN THE OLIVER BUILDING, ON FIFTH STREET SOUTH, WHICH WAS MAIN STREET AT THAT TIME… THERE’S A VERY INTERESTING STORY AS TO HOW HE FOUND HIMSELF IN LETHBRIDGE. HE HAD COME OVER FROM GREECE – FROM A LITTLE VILLAGE IN GREECE [THE CORINTHIAN VILLAGE OF LIMNES] – SENT BY HIS FATHER. AT THAT TIME, THE FATHERS, IN A VERY PATRIARCHAL ATMOSPHERE, CHOSE THEIR BRIGHTEST AND BEST SON, AND SENT THEM TO AMERICA TO HELP THE FAMILY, AND DAD WAS 15 YEARS OLD WHEN HE WAS SENT TO NEW YORK. HE ARRIVED AT ELLIS ISLAND IN 1900, AT 15 YEARS OF AGE, WITHOUT ANY MONEY. I THINK HE HAD $2.00 IN HIS POCKET, AND NOT ANY KNOWLEDGE OF THE ENGLISH LANGUAGE AT ALL. THERE WAS A TEAM HIRING YOUNG GREEK IMMIGRANTS TO WORK ON THE GREAT NORTHERN RAILWAY THAT MET THEM AT ELLIS ISLAND. DAD HIRED ON WITH THEM, BUT HE WAS SMART ENOUGH TO BUY A DICTIONARY WITH THAT $2.00 HE HAD. [HE] BECAME THE INTERPRETER FOR THE GANG, AND WORKED HIS WAY ACROSS AMERICA. HE HAD COUSINS WHO HAD PRECEDED HIM, AND WERE ESTABLISHED IN PORTLAND, OREGON, AND THAT’S WHAT HIS DESTINATION WAS, SO THE GREAT NORTHERN GOT HIM ACROSS AMERICA TO PORTLAND. HE ESTABLISHED A BUSINESS THERE – A GROCERY BUSINESS – BUT DIDN’T LIKE IT BECAUSE IT WAS TOO WET. [HE] WORKED THERE FOR 7 YEARS, UNTIL 1907, WHEN A FRIEND OF HIS IN CALGARY, FROM A NEIGHBORING VILLAGE, WROTE HIM AND SAID THERE WAS A GREAT OPPORTUNITY TO OPEN A DAIRY IN CALGARY, AND WHY DON’T THEY GO INTO PARTNERSHIP? SO, WOULD DAD COME AND VISIT HIM – AND HE DID. HE TELLS THE STORY OF HOW IT HAD BEEN RAINING FOR 2 WEEKS IN PORTLAND – RAINED ALL THE WAY TO VANCOUVER – AND WAS STILL RAINING ALL THE WAY TO CALGARY. [HE] MET WITH HIS FRIEND, LIKED HIM, LIKED THE PROPOSITION – TOLD [THE FRIEND] HE WOULD GO BACK TO PORTLAND TO THINK IT OVER AND LET HIM KNOW [HE] CAME DOWN THROUGH LETHBRIDGE. STAYED OVERNIGHT AT THE LETHBRIDGE HOTEL. WOKE UP IN THE MORNING TO BRIGHT SUNSHINE, AND SAID, ‘I’M STAYING HERE.’ AND HE DID. AND HE STARTED THE WHITE LUNCH CAFÉ IMMEDIATELY. HE’D MADE ENOUGH MONEY IN PORTLAND WHERE HE WAS ABLE TO OPEN UP A FIRST CLASS RESTAURANT, WHICH WAS LETHBRIDGE’S PREMIERE RESTAURANT FOR THE NEXT 40 YEARS. THE WHITE LUNCH WAS JUST HALF THE SIZE IT WAS EVENTUALLY, TO BEGIN WITH AS BUSINESS GREW, HE GOT THE CONTRACT WITH THE CPR TO FEED CPR EMPLOYEES WHO CAME THROUGH LETHBRIDGE, AND, AS SOUTHERN ALBERTA BECAME SETTLED, FARMERS CAME IN TO SHOP ON SATURDAYS. BUSINESS GREW, AND DAD DID VERY WELL... [HE] BROUGHT IN MR. NICAS IN 1922, AS A PARTNER IN THE BUSINESS, AND THEY WORKED TOGETHER FOR MANY YEARS, UNTIL HE DIED.” “[AS KIDS] WE WOULD STOP IN FOR A MILKSHAKE, AND A PIECE OF PIE… LOCAL PEOPLE WOULD RARELY EAT IN THE RESTAURANT,” CHRISTOU ADDED, “NOW, PICTURE THIS – THIS WAS IN THE ‘30’S – RIGHT AT THE DEPTH OF THE DEPRESSION – PEOPLE DIDN’T HAVE ENOUGH MONEY. DENTISTS WOULD COME AND EAT AT THE RESTAURANT, AND THEY WOULD SHARE A PLATE OF PANCAKES. THEY’D COME ON SUNDAY [AND] THAT WOULD BE THEIR ONE MEAL A WEEK – AND THEY WERE THE WEALTHY PEOPLE IN TOWN. THE COMMON PEOPLE DIDN’T EAT IN RESTAURANTS AT ALL. IT WAS REALLY THE WORKING PEOPLE – THE MINERS, AND THE RAILWAY PEOPLE, AND THE FARMERS THAT WOULD COME TO TOWN THAT USED THE RESTAURANT FACILITIES. AND BECAUSE OF THAT, THE MENU WAS STRICTLY A WESTERN MENU. [PYTCIA’S] DAD COULD HAVE PRESENTED A FULL GREEK MENU, BUT IT WOULDN’T HAVE FLOWN AT ALL. NO ONE KNEW WHAT GREEK FOOD WAS, EVEN.” CHRISTOU RECALLED MEMORY OF THE WHITE LUNCH CAFÉ, “WE DIDN’T GO TO THE STORE THAT OFTEN BECAUSE THERE WAS A REAL SEPARATION BETWEEN HOME AND BUSINESS. DAD WAS NOT THAT HAPPY IN THE RESTAURANT BUSINESS. HE WAS A REAL FAMILY-ORIENTED PERSON, AND MISSED BEING AT HOME FOR THE MEALS THAT WE HAD AT HOME. HE HAD TO BE AT THE RESTAURANT. HE BROUGHT IN MR. NICAS AS A PARTNER, AND THAT RELIEVED HIM SO HE HAD SOME TIME AT HOME, AND LATER THEY HAD A NIGHT MANAGER – IT WAS A 24 HOUR BUSINESS. PETE, THE NIGHT MANAGER, RELIEVED THEM SOMEWHAT TOO, SO THAT THEY SPENT A LITTLE TIME AT HOME, BOTH HE AND MR. NICAS... THEY HAD EXCELLENT CHEFS; MOSTLY CHINESE CHEFS, WHO WERE TRAINED BY THE CPR, AT THE VANCOUVER HOTEL. THEY’D BE THE MAIN CHEFS THAT THEY WOULD HAVE.” “IT WAS A VERY, VERY BUSY PLACE, SAY, ON SATURDAY NIGHT… LETHBRIDGE WAS VERY BUSY IN THOSE DAYS. THERE’D BE A SALVATION ARMY PLAYING DOWN THE STREET, IN FRONT OF THE ALEXANDRA HOTEL. THE RESTAURANT WAS HALF-WAY BETWEEN – JUST PICTURE THIS, MAIN STREET, THE BUSIEST STREET – STREETCARS GOING UP AND DOWN THE STREET ALL THE TIME – WALL-TO-WALL PEOPLE – VERY, VERY BUSY – AND LOCATED HALF-WAY BETWEEN THE ALEXANDRA BEER PARLOR, AND THE DALLAS BEER PARLOR, AT THE DALLAS HOTEL – SO THOSE WERE THE REAL FOCAL POINTS FOR MOST OF THE FARMERS WHO CAME TO TOWN – AND THEY WOULD SEND THEIR FAMILIES TO THE THEATRE – THE ROXY THEATRE WAS ON THAT SAME STREET, AND THE CAPITAL, DOWN ON THE NEXT BLOCK – AND THE WHITE LUNCH BECAME SORT OF THE 'HOME AWAY FROM HOME' FOR THOSE FAMILIES THAT CAME INTO TOWN ON SATURDAYS, MANY OF WHOM STAYED OVERNIGHT. IT WAS A VERY, VERY BUSY COMMUNITY, AND THE WHITE LUNCH WAS THE PREMIERE RESTAURANT – IT WAS THE ONLY RESTAURANT THAT HAD BANQUET FACILITIES [BEFORE THE MARQUIS] IN THE BASEMENT, AND THE ROTARY CLUB, AND KIWANIS, AND KINSMEN, AND SO ON, HAD THEIR MEETINGS THERE.” CHRISTOU DESCRIBED THE CLOSING OF THE BUSINESS, “DAD WASN’T WELL. WHEN THE DEPRESSION HIT IN 1928, DAD LOST A FORTUNE, AND THE RESTAURANT BUSINESS WENT DOWNHILL TERRIBLY, BECAUSE NOBODY HAD ANY MONEY. I STILL REMEMBER BOXES OF CHITS – PEOPLE’S IOU’S – TO PAY FOR MEALS, THAT WERE NEVER PAID FOR. IT WAS VERY TOUGH TIMES FOR THEM FOR THE NEXT FEW YEARS… HIS HEALTH FAILED DURING THAT TIME. DAD BECAME A SEVERE ASTHMATIC, AND WITH HIS HEALTH SO POOR, AND BUSINESS GOING DOWNHILL, HE FINALLY SOLD OUT IN THE ‘50S… IN THE MEANTIME MY MOTHER HAD COAXED DAD TO ACQUIRE SOME RENTAL PROPERTIES, AND THEY WERE ABLE TO MANAGE WITH THAT, BUT THEY WERE VERY DIFFICULT TIMES. ACTUALLY A GREAT BENEFIT TO ME, IN THAT I WAS OLD ENOUGH TO UNDERSTAND HOW DIFFICULT IT WAS FOR THEM, AND THAT I STARTED JOBS. I WORKED AS A CASHIER AT THE RESTAURANT, WHEN I WAS IN HIGH SCHOOL, AND WORKED AT OTHER JOBS AS WELL – AT THE THEATRE, AS AN USHER AND DOORMAN AT THE CAPITOL THEATRE, AND AT THE PARAMOUNT. [I] SAVED ALL THAT MONEY FOR UNIVERSITY. THE WORK ETHIC STARTED EARLY FOR ME, BECAUSE OF THE DEPRESSION.” IN THE INTERVIEW, CHRISTOU DESCRIBED IN DETAIL HOW HIS FATHER BECAME THE FIRST GREEK IMMIGRANT TO SETTLE IN LETHBRIDGE, “... [MY FATHER] WAS THE FIRST ONE TO SETTLE PERMANENTLY. HE WAS A VERY GREGARIOUS AND LIKEABLE PERSONALITY, A VERY CIVILIZED HUMAN BEING. [HE] WELCOMED ALL THE GREEKS WHO CAME AND DIDN’T MIND IF THEY WENT INTO THE RESTAURANT BUSINESS AT ALL. SEVERAL [GREEKS] THAT HE WELCOMED, OPENED UP RESTAURANTS. THE SAVOY CAFÉ WAS OWNED BY MR. HYT; THE SHASTA CAFÉ WAS OWNED BY THE GOLIS BROTHERS, AND THE MAPLE LEAF CAFÉ WAS OWNED BY THE AFAGANIS BROTHERS – THREE AFAGANIS BROTHERS.” IN COMPARISON TO OTHER GREEK COMMUNITIES THAT WERE ESTABLISHED IN NORTH AMERICA, LETHBRIDGE’S WAS CLOSE-KNIT REGARDLESS OF A FAMILY’S GREEK REGION OF ORIGIN. CHRISTOU EXPLAINED HOW HE CAME TO LEARN THIS: “I DIDN’T KNOW ANYTHING ABOUT [THE NATURE OF OUR COMMUNITY] UNTIL I WENT ON, AFTER GRADUATING IN DENTISTRY. I WENT DOWN TO ROCHESTER, NEW YORK, WHERE I TOOK MY POST-GRADUATE IN/AT THE EASTMAN DENTAL DISPENSARY, IN ORTHODONTICS… THEY HAD TWO GREEK CHURCHES THERE, AND I FOUND OUT THAT THERE, AND EVERYWHERE ELSE THAT I RESEARCHED AFTER THAT, THE GREEK COMMUNITIES WERE SPLIT QUITE BADLY IN TWO, BETWEEN THE GREEKS WHO CAME FROM ASIA MINOR, AND THE GREEKS THAT CAME FROM THE MAINLAND. [IT] BECAUSE OF THE DIFFICULTIES THAT THE GREEKS IN ASIA MINOR HAD, IN MAINTAINING THEIR RELIGION AND THEIR CULTURE. THEY WORKED HARDER AT IT THAN THE GREEKS ON THE MAINLAND, AND WERE BETTER EDUCATED, AND WHEN THEY FINALLY HAD THIS EXCHANGE OF CITIZENS – AND THE GREAT EXCHANGE BETWEEN TURKEY AND GREECE IN 1921 – THE GREEKS FROM ASIA MINOR WERE ABLE TO COME TO THE MAINLAND AND TAKE OVER THE MAIN GOVERNMENT AND OTHER IMPORTANT JOBS, AND WERE RESENTED BY THE PEOPLE ON THE MAINLAND. IN LETHBRIDGE, NONE OF THAT EXISTED AT ALL. I THINK THAT WAS MY DAD’S DOING… THERE WAS NO DISCRIMINATION WHATSOEVER… [MY DAD] AND MY MOTHER BOTH CAME FROM THE MAINLAND… THE AFAGANISES, FOR EXAMPLE [CAME FROM ASIA MINOR]. AND I MARRIED ONE OF THEM [HELEN AFAGANIS]... YES, AND THE GOLIS’, AND THE DANGGAS’, MANY OF THE OTHERS WERE FROM ASIA MINOR.” SPEAKING ABOUT WHAT IT WAS LIKE GROWING UP IN LETHBRIDGE WITHIN THE GREEK COMMUNITY, CHRISTOU SAID, “WELL, AS CHILDREN, WE DIDN’T WANT TO BE DIFFERENT. WE REALLY WANTED TO FIT IN WITH THE WASP [WHITE ANGLO-SAXON PROTESTANT] KIDS THAT WE LIVED WITH. [WE] DIDN’T LIKE, FOR EXAMPLE, HAVING TO SPEAK GREEK AT HOME AND GO TO GREEK SCHOOL. OUR PARENTS SET UP A GREEK SCHOOL FOR US. THERE WAS [A] STRANGE DOUBLE-SIDED-NESS TO IT, WHERE WE WERE VERY PROUD OF OUR CULTURE, AND DID LEARN GREEK VERY WELL (BECAME FULLY BILINGUAL), BUT THERE WAS DISCRIMINATION AT THAT TIME. WE WERE THE ONLY FOREIGN-SPEAKING PEOPLE, ON THE SOUTHSIDE OF LETHBRIDGE. THAT WAS A UNIQUE SITUATION OF THE GREEK COMMUNITY. ALL OTHER NATIONALITIES, WHO SPOKE ANOTHER LANGUAGE, LIVED ON THE NORTHSIDE. THE SOUTHSIDE WAS WASP-VILLE SO THERE WAS DISCRIMINATION AND WE FELT IT. WHEN I LEFT TO GO TO UNIVERSITY, AT 17 YEARS OF AGE, THE ONLY THING I WAS SURE OF, WAS THAT I’D NEVER COME BACK TO LETHBRIDGE BECAUSE OF THE DISCRIMINATION I FELT… THEY HAD A WAY OF LETTING YOU KNOW THAT YOU ARE A SECOND-CLASS CITIZEN, AND THAT YOU REALLY BELONGED ON THE NORTHSIDE. THE INTERESTING THING IS THAT, WHEN I CAME BACK, AND I WAS ONLY COMING BACK FOR A YEAR, I FELL IN LOVE WITH HELEN. WE GOT MARRIED; BUILT A HOME ON FIFTEENTH AVENUE, AND THERE WAS NO DISCRIMINATION WHATSOEVER, IN ONE GENERATION.” AS STATED BY CHRISTOU, THE GREEK COMMUNITY BEGAN TO SHRINK IN SIZE AFTER THE SECOND WORLD WAR FOR VARIOUS REASONS: “AFTER THE WAR, IT WAS A DIFFERENT COMMUNITY ALL TOGETHER. THAT COMMUNITY WAS REALLY VIBRANT UP UNTIL THE SECOND WORLD WAR… BEFORE WE GOT THE UNIVERSITY HERE, MOST YOUNG PEOPLE WOULD LEAVE TOWN. VERY FEW STAYED. THE SPOULOS BOYS STAYED. I STAYED AND HELEN STAYED BECAUSE WE GOT MARRIED. HER BROTHER CAME BACK, BUT VERY FEW OTHERS. [THE COMMUNITY] GRADUALLY DIED OUT – JUST PASSED AWAY... WE ARE THE LAST REMNANTS – JIM SPOULOS AND I, HARRY AFAGANIS AND JIM’S SISTER, OLIVIA – ARE THE LAST REMNANTS OF THAT WHOLE COMMUNITY.” ACCORDING TO HIS OBITUARY, ACCESSED FROM THE MARTIN BROTHERS FUNERAL CHAPEL WEBSITE, PETO NICAS, THE DONOR’S FATHER WAS BORN IN LETHBRIDGE ON 2 JANUARY 1924. HE BECAME A LETHBRIDGE ENTREPRENEUR, LIKE HIS FATHER, OPENING MCGUIRE’S MEN’S WEAR FOR 50 YEARS. HE PASSED AWAY ON 20 DECEMBER 2016. AN OBITUARY PUBLISHED IN THE LETHBRIDGE HERALD ON 1 APRIL 1944 FOR ANDREW A. NICAS, STATES THAT HE WAS BORN IN ARGOS, GREECE, AND IMMIGRATED TO THE UNITED STATES IN 1900. IN 1911, HE MOVED TO LETHBRIDGE. A QUOTE FROM THAT OBITUARY STATES, “FEW RESTAURANT OPERATORS IN THE PROVINCE WERE MORE WIDELY KNOWN THAN A. A. ‘SHORTY’ NICAS, GENEROUS, GENIAL, AND HOSPITABLE.” HE PASSED AWAY IN LETHBRIDGE ON 1 APRIL 1944. ACCORDING TO THE OBITUARY OF AGNES A. NICAS, WIFE OF SHORTY NICAS, STATES THAT SHE WAS BORN IN GREECE, MOVING TO MONTREAL AND THEN TO LETHBRIDGE IN 1919 UPON HER MARRIAGE TO NICAS. SHE PASSED AWAY ON 3 MARCH 1988. FROM DR. VAN CHRISTOU’S OBITUARY, ALSO ON THE MARTIN BROTHERS FUNERAL CHAPEL WEBSITE, HE WAS BORN IN LETHBRIDGE ON 24 JANUARY 1926. HIS PARENTS WERE CHRIST (CHRIS) AND ANASTASIA CHRISTOU. IN 1948, HE GRADUATED FROM THE UNIVERSITY OF ALBERTA WITH A DOCTORATE OF DENTISTRY, AND LATER COMPLETED HIS POSTGRADUATE IN ORTHODONTICS AT THE UNIVERSITY OF ROCHESTER FROM 1948-50. HE RETURNED TO LETHBRIDGE TO PRACTICE GENERAL DENTISTRY AND LATER ESTABLISHED HIS OWN ORTHODONTIST PRACTICE. HE MARRIED HELEN AFAGANIS IN 1952 AND TOGETHER THEY HAD FOUR CHILDREN. HE PASSED AWAY ON 27 SEPTEMBER 2017. CHRISTOU PROVIDED A WRITTEN HISTORY TITLED “LETHBRIDGE’S GREEK (HELLENIC) COMMUNITY,” WHERE HE LISTED THE TEN PRE-WORLD WAR II GREEK FAMILIES LIVING IN LETHBRIDGE, INCLUDING THE CHRISTOU FAMILY AND THE NICAS FAMILY. A LETHBRIDGE HERALD ARTICLE FROM 11 OCTOBER 1946 STATES THAT THE WHITE LUNCH CAFÉ WAS SOLD IN 1946. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS, THE WRITTEN HISTORY OF THE GREEK COMMUNITY, AND LETHBRIDGE HERALD RESEARCH.
Catalogue Number
P20170008000
Acquisition Date
2017-02
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK, EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. 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 P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN 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. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
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. BETWEEN 22 AND 24 JANUARY 2020, UNIVERSITY OF LETHBRIDGE PREPARATOR/ASSISTANT CURATOR DAVID SMITH MOUNTED THIS PAINTING IN AN ACID-FREE, LINEN-HINGED MAT. THE WORK WAS FIXED TO THE MAT BY MEANS OF REVERSIBLE JAPANESE PAPER HINGES TREATED WITH WHEAT STARCH PASTE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (P.O.W.) CAMP TO THE LETHBRIDGE P.O.W. CAMP 133 BY DECEMBER 1942. THIS PAINTING 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 (P.O.W.) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A P.O.W., KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A P.O.W.. OF COURSE HIS LIFE AS A P.O.W. WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE P.O.W. CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED P.O.W. RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE P.O.W.’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. IN NOVEMBER 2016 COLLECTIONS TECHNICIAN KEVIN MACLEAN WROTE TO THE DEUTSCHE DIENSTSTELLE IN BERLIN, GERMANY REQUESTING INFORMATION FROM THE SERVICE FILES OF KARL ENGEL. THE DEUTSCHE DIENSTSTELLE PROVIDED THE INFORMATION ON ENGEL IN 2018, NOTING THAT ENGEL’S CIVILIAN PROFESSION, AT THE TIME OF HIS ENLISTMENT, WAS OPERA SINGER AND PAINTER. ENGEL WAS BORN MARCH 20, 1913 IN LUDWIGSHAFEN, GERMANY, AND ENLISTED WITH THE 2ND COMPANY INFANTRY RESERVE 212 ON APRIL 23, 1940. FROM 1940-1942 ENGEL SERVED WITH THE 1ST, 3RD, AND 9TH INFANTRY RESERVES, WITH HIS LAST SERVICE RANK NOTED AS CHIEF RIFLEMAN. ENGEL WAS CAPTURED AND IMPRISONED FROM JANUARY 2, 1942 UNTIL FEBRUARY 25, 1947, WITH HIS INITIAL CAPTURE OCCURRING IN BARDIA, LIBYA AND FIRST IMPRISONMENT IN CAMP ALEXANDRIA, EGYPT. ENGEL WAS TRANSFERRED TO CAMP 308, FAYID/BITTERSEE, EGYPT IN JANUARY 1942, THEN TO 304 HELWAN, EGYPT WHERE HE SPENT FIVE MONTHS. ENGEL WAS SENT TO CANADA IN JUNE, 1942 AS A PRISONER OF WAR, STAYING AT CAMP 133 OZADA AND LETHBRIDGE UNTIL APRIL, 1946, WHEN FOLLOWING THE WAR ENGEL WAS TRANSFERRED TO CAMP 183 QUORN, ENGLAND. ENGEL RETURNED TO GERMANY IN A US DETENTION CAMP IN 1947, REMAINING AT CAMP 26 DACHAU UNTIL HIS RELEASE IN FEBRUARY 1947. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010012
Acquisition Date
2016-01
Collection
Museum
Images
Less detail

45 records – page 1 of 3.