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63 records – page 1 of 4.

Other Name
"2&7"
Date Range From
1987
Date Range To
1992
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20190022007
  2 images  
Material Type
Artifact
Other Name
"2&7"
Date Range From
1987
Date Range To
1992
Materials
WOOD, PAINT
No. Pieces
1
Height
1.2
Length
49
Width
46
Description
WOOD SIGN SHAPED LIKE THE NUMBERS 2 AND 7 CONNECTED. FRONT OF SIGN HAS ORANGE “2” AND RED “7” PAINTED WITH BLACK AMPERSAND “&” IN CENTER; NUMBERS ARE PAINTED ON WHITE BACKFROUND, WITH RED DROP-SHADOWS. SIDES OF SIGN ARE PAINTED WHITE. BACK IS UNPAINTED PRESSED WOOD BOARD; BACK HAS TWO DRILLED HOLES FOR HANGING IN CENTER. FRONT HAS LOSS ALONG LOWER EDGE OF “7”; FRONT IS STAINED AT TOP ARCH OF “2” AND ALONG EDGES; BACK IS STAINED RED AT EDGES AND STAINED IN THE CENTER; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIEWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE “2&7” STATION SIGN, DWORNIK RECALLED, “[THE SIGN LOOKS HANDMADE, HAND-PAINTED] THAT’S AGAIN, JUST A STUDIO PROP FOR THE…NEWS READERS [AND STORED IN THE ENGINEER’S ROOM].” “[THE YEARS 2&7 RAN WERE A] VERY HIGH PROFILE, EXCITING TIME FOR THE STATION AS WELL. THE REASON THEY WENT WITH THE 2 AND 7, WE DIDN’T CHANGE, AT THAT TIME, TO OFFICIALLY CHANGE OUR CALL LETTERS, WE WERE STILL CFAC, SO WE MADE THAT TRANSITION INTO 2 AND 7. WHAT MANAGEMENT HAD DONE OUT OF CALGARY WAS ARRANGE WITH ALL THE CABLE COMPANIES TO PUT US ONTO EITHER CHANNEL 2 OR CHANNEL 7…[CALGARY’S] TRANSMITTER WAS BROADCASTING ON CHANNEL 2 OFF AIR. WE WERE BROADCASTING ON CHANNEL 7 OFF AIR. WE WERE CHANNEL 2 ON CABLE, AND THEY WERE 7 UP IN CALGARY, AND THEY WERE ABLE TO COMFORTABLY NEGOTIATE WITH ALL THE CABLE OPERATORS TO PUT US ON EITHER 2 AND 7…FROM CROWSNEST PASS INTO CRANBROOK AND CRESTON. THAT’S ALSO THE TIME WHEN THE OLYMPICS WAS HAPPENING AND THE PROMOTIONAL DIRECTOR IN CALGARY WAS JUST AMAZING. THE PROMOTIONAL MANAGER AND THEY HAD A SALES MANAGER. BOYD ASH WAS PROMOTIONS MANAGER THERE AND HE GOT ON THIS IDEA OF THE 2 AND 7, AND HE ALSO GOT ON TO [MAKING] LAPEL PINS. THEY MUST HAVE DESIGNED AND DISTRIBUTED…HUNDREDS OF THOUSANDS OF [LAPEL] PINS…PEOPLE LOVED THEM…I THINK THAT’S WHAT PROMPTED IT, BECAUSE WELL, IT WAS KNOWN THAT TRADING PINS WAS A BIG DEAL…IT WAS VERY HIGH PROFILE AND LOTS OF GREAT PROMOTIONAL THINGS HAPPENING WITH, AGAIN, EXCITING TIMES AND SOME FUN STUFF.” “[THE ERA OF 2&7] I WOULD SAY ABOUT ’87 TO ABOUT ’92 AGAIN I THINK…[IT WAS VERY SHORT] AND I THINK PART OF THAT MIGHT BE TIED INTO THE FACT THAT THE SATELLITE STUFF IS COMING ON…THAT WAS THE REASON TO DO THE 2 AND 7 IS THAT IT’S EASY, LIKE IF YOU SAY, ‘WELL I’M LOOKING FOR CJOC, WHERE DO I FIND CJOC ON MY CABLE LINE UP?’ BUT IF YOU’RE JUST LOOKING FOR A NUMBER THAT WAS EASIER. BUT THEN I DON’T THINK THEY WERE GOING TO CONTINUE NEGOTIATING THAT, FOR WHATEVER REASON.” “[BEFORE 2&7 THE STATION WAS] CFAC…SAME COLOURS. THE RED AND YELLOW THERE.” DWORNIK ELABORATED ON THE ROLE OF ENGINEERS AT THE STATION, NOTING, “[THE ENGINEER’S ROLE IS] BASICALLY TO KEEP US ON THE AIR. THERE’S SO MUCH ELECTRONIC AND TECHNICAL EQUIPMENT THEY HAD TO KNOW ABOUT TRANSMITTERS, MICROWAVE, VIDEOTAPE, ALL THE ELECTRONICS, AND THEY ALSO DID MAINTENANCE ON THE BUILDING.” “THE LAST ENGINEER WAS LET GO IN AN UNFORTUNATE SITUATION, IN THE SUMMER OF [2014]…WE DID NOT HAVE A STATION MANAGER. AT ONE TIME WE HAD A STATION MANAGER [PETER DEYES] WHO WAS ALSO THE NEWS DIRECTOR, WHEN I CAME BACK. THAT FELLOW LEFT…THEY BROUGHT IN AN ASSIGNMENT EDITOR FROM TORONTO, AND SHE WAS…NOT EVEN THE NEWS DIRECTOR, WHICH WAS TERRIBLE; THEY CALLED HER THE NEWS MANAGER. MANAGEMENT OF THE STATION WAS TAKEN OVER BY THE CALGARY TELEVISION, AND THE ENGINEERING RESPONSIBILITIES WERE TAKEN OVER BY CALGARY TELEVISION.” “WE’D HAVE TO CALL [ENGINEERS WHEN THERE WAS EQUIPMENT ISSUES]. AT THAT TIME, WE HAD MORE CAMERAS THAN VIDEOGRAPHERS, SO THEY KIND OF HAD A SPARE ON HAND. IF ONE WENT DOWN, THEY’D BE OKAY. AND, AT THAT TIME, EVERYTHING ELSE WAS SHIFTED AWAY FROM THE STATION, AND WAS AUTOMATED. IT WAS JUST MIND-BOGGLING THE AUTOMATION THAT THEY HAD AVAILABLE. CALGARY TELEVISION WAS…KIND OF THE MASTER CONTROL CENTER FOR ALL OF THE GLOBAL TELEVISION STATIONS IN CANADA. SO, IT WAS JUST AMAZING, ALL THE MONITORS IN THEIR MASTER CONTROL…ONE OF THE CENTERS WAS, I THINK, SWITCHED OUT OF EDMONTON…ALL THE COMMERCIALS THAT PLAYED ALL ACROSS CANADA, ORIGINATED OUT OF CALGARY TELEVISION. AND THEY WEREN’T VIDEO TAPE MACHINES, AT THAT TIME, THEY WERE BASICALLY COMPUTERS.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TIME, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022007
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, PAINT, CARDBOARD
Catalogue Number
P20190006001
  2 images  
Material Type
Artifact
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Materials
WOOD, PAINT, CARDBOARD
No. Pieces
1
Length
38.2
Width
48.4
Description
OIL ON WOOD PANEL PAINTING IN BROWN WOODEN FRAME. PAINTING DEPICTS TWO CLUSTERS OF TREES WITH GREEN AND YELLOW-ORANGE LEAVES, WITH A BROWN FOREGROUND AND BLUE BACKGROUND. BACKGROUND HAS TWO TONES OF BLUE DEPICTING HILLS AND SKY. FOREGROUND HAS RED AND GOLD TONES. BRUSH STROKES ARE DISTINCT SHOWING GRASS IN FOREROUND; PAINTING HAS PAINT APPLIED HEAVILY TO YELLOW-ORANGE TREE LEAVES. PAINTING IS SIGNED IN BLUE IN FRONT LOWER RIGHT CORNER OF CANVAS “M. PISKO”. FRAME AROUND CANVAS IS BROWN WITH DOUBLE-CIRCLES ENGRAVED BETWEEN DOUBLE LINES ALONG TRIM; FRAME HAS FOUR SCREWS LOCATED AT UPPER AND LOWER LEFT AND RIGHT CORNERS. BACK OF FRAME HAS CARDBOARD BACKING SECURED TO WOODEN FRAME WITH SILVER TAPE. CARDBOARD BACKING HAS WHITE LABEL ON LEFT SIDE WITH HANDWRITTEN TEXT IN BLACK INK “MIKE PISKO, 1998 $100.00”; CARDBOARD BACKING HAS HANDWRITTEN TEXT IN PENCIL IN UPPER LEFT CORNER “TRUCK [UNDERLINED], 01 0066”. FRONT OF CANVAS HAS YELLOW DISCOLORATION AND STAINING IN UPPER LEFT AND RIGHT CORNERS. FRONT OF FRAME HAS MINOR CHIPPING AND DENTS ALONG OUTER EDGES. CARDBOARD BACKING HAS BROWN AND BLUE STAINING; BACK OF FRAME HAS WHITE STAINING ALONG LOWER LEFT EDGE, AND BLUE STAINING AT UPPER LEFT EDGE; UPPER RIGHT EDGE OF FRAME IS SPLITTING ALONG SEAM. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “I HAVE NO MEMORY OF [KNOWING PISKO OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” IN 2014, COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON MICHAEL PISKO WAS FOUND IN A PRESS RELEASE ANNOUNCING THE 'MICHAEL PISKO MEMORIAL AWARD', WHICH WAS ESTABLISHED BY THE ARTIST'S WIDOW AND THE ALBERTA SOCIETY OF ARTISTS IN 2000, TO BE AWARDED TO A GRADUATING BFA DEGREE PAINTER FROM THE UNIVERSITY OF LETHBRIDGE: "MICHAEL PISKO WAS BORN IN LETHBRIDGE IN 1913. HE MADE HIS LIVING AS A SUCCESSFUL SIGN PAINTER THROUGH HIS BUSINESS, CITY SIGN COMPANY, BUT LANDSCAPE PAINTING WAS HIS LIFE'S FULFILLMENT. TO HONE HIS SKILLS, HE STUDIED THREE SUMMERS AT THE BANFF SCHOOL OF FINE ARTS AND SOUGHT INSTRUCTION FROM SENIOR VISITING ARTISTS WHO CAME TO LETHBRIDGE ON INVITATION OF THE LETHBRIDGE SKETCH CLUB, OF WHICH HE, IN 1937, WAS ONE OF THE FOUNDING MEMBERS. PISKO GREATLY ADMIRED A.Y. JACKSON, THE GROUP OF SEVEN MASTER, WITH WHOM HE HAD THE OPPORTUNITY TO SKETCH AND PAINT AROUND LETHBRIDGE WHENEVER JACKSON CAME TO TOWN TO VISIT HIS BROTHER. HE WAS ALSO DEEPLY INFLUENCED BY H.G. GLYDE, WHO TAUGHT AT THE ALBERTA COLLEGE OF ART IN CALGARY AND AT THE BANFF SCHOOL OF FINE ARTS AND WHO VISITED LETHBRIDGE TO TEACH ART CLASSES AT THE LETHBRIDGE SKETCH CLUB. IN 1947 PISKO WAS ACCEPTED FOR MEMBERSHIP IN THE ALBERTA SOCIETY OF ARTISTS. HE WAS A PROLIFIC PAINTER, WHO EXHIBITED REGULARLY WITH THE LETHBRIDGE SKETCH CLUB AND THE ALBERTA SOCIETY OF ARTISTS. HIS WORK IS REPRESENTED IN MANY PRIVATE, CORPORATE AND PUBLIC COLLECTIONS, AMONG THEM THE ALBERTA FOUNDATION FOR THE ARTS AND THE UNIVERSITY OF LETHBRIDGE. MICHAEL PISKO PASSED AWAY IN 1999." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006001
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
PAPER, METAL, PAINT
Catalogue Number
P20190006004
  2 images  
Material Type
Artifact
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Materials
PAPER, METAL, PAINT
No. Pieces
1
Length
74.8
Width
67
Description
WATERCOLOUR AND PASTEL PAINTING DEPICTING A TREE IN THE FOREGROUND IN BLACK PASTEL ON GREEN, PURPLE, PINK AND BLUE BLENDED WATERCOLOUR BACKGROUND. TREE AND GROUND OUTLINES ARE DONE IN PASTEL WITH ABSTRACT WATERCOLOUR BACKGROUNDS FOR LEAVES AND LANDSCAPE. PAINTING SIGNED IN FRONT LOWER RIGHT CORNER IN BLACK INK, "MELISSA MALKAS". PAINTING BACK IS STAINED, AND HAS INSCRIPTION IN LOWER RIGHT CORNER IN BLACK LEAD "PAINTING BY MELISSA MALKAS". PAINTING WAS DONATED IN A LAVENDER MATTE AND SILVER METAL FRAME. FRAME HAD WHITE COROPLAST BACKING WITH HANDWRITTEN TEXT IN BLUE MARKER ON LEFT SIDE "MELISSA AFTER CALGARY". MATTE CONSISTED OF A FRONT BOARD WITH THE PAINTING SECURED BY MASKING TAPE ALONG FOUR EDGES. A TREATMENT WAS CONDUCTED ON OCTOBER 24, 2019 BY CONSERVATOR JULIET GRAHAM TO REMOVE THE MASKING TAPE FROM THE BACK OF THE PAINTING, AND TO SECURE HOLLYTEX TO THE REMAINING ADHESIVE ON THE PAINTING. PAINTING HAS TWO PINHOLES AT LOWER RIGHT CORNER, AND SMALL TEARS ALONG RIGHT EDGE [REVEALED DURING TREATMENT TO REMOVE TAPE]. PAINTING HAS ADHESIVE RESIDUE ALONG FRONT EDGES FROM PREVIOUS MATTING OR FRAMING. OVERALL VERY GOOD CONDITION. FOR FURTHER CONDITION DETAILS AND THE COMPLETE TREATMENT REPORT BY CONSERVATOR JULIET GRAHAM, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MELISSA MALKAS, FLAIG RECALLED, “MY BROTHERS AND I HAD MET [MELISSA MALKAS]. WE THOUGHT HIGHLY OF HER AS AN ARTIST, [AND] AS A PERSON. I BELIEVE SHE’S NOT AROUND IN TOWN ANY MORE, BUT SHE WAS PART OF THAT RURAL SCENE, WHERE YOU HAD A GREAT AMOUNT OF FREEDOM.” “I JUST [HAD], I BELIEVE, TWO OF MELISSA’S PIECES, THE PAINTING [WAS ONE], WHICH IS VERY BIG, BEAUTIFUL, AND PRETTY. ON THE BACK IT SAYS ‘AFTER CALGARY’. I’M NOT SURE WHAT THAT MEANS.” “[WE MET THE MALKAS’S] ONCE WE MOVED OUT TO BROXBURN. I DON’T KNOW IF THEY MOVED IN BEFOREHAND. THEY WERE [OUR] NEIGHBORS. MOM WAS RAISED ON A FARM IN SASKATCHEWAN, AND [MY PARENTS] KNEW HOW TO REACH OUT TO THE NEIGHBORS, AND MAKE FRIENDS, AND TAKE FOOD OVER AND VISIT…THEY WERE ALWAYS OUT VISITING.” “I KNOW [MY PARENTS] WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, MELISSA MALKAS WAS A SECOND GENERATION LETHBRIDGE ARTIST, THE DAUGHTER OF IRMA MALKAS (RODOWITZ) AND EGON MALKAS. MELISSA MALKAS GRADUATED FROM THE UNIVERSITY OF CALGARY IN 1986 WITH A DEGREE IN FINE ARTS, AND ALSO ATTENDED THE UNIVERSITY OF LETHBRIDGE. DURING HER CAREER, MALKAS EXHIBITED AT THE BOWMAN ARTS CENTRE WITH THE ALLIED ARTS COUNCIL OF LETHBRIDGE. MELISSA MALKAS EXHIBITED AS A SOLO ARTIST, AND WITH HER MOTHER IN 1996 AND 2003 AT THE BOWMAN ARTS CENTRE. MALKAS WAS AN INSTRUCTOR AT THE BOWMAN ARTS CENTRE FOR THE LETHBRIDGE ARTISTS CLUB IN 2005 AND 2010, TEACHING COURSES IN MIXED MEDIA WATERCOLOUR AND OILS. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006004
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20180029001
  2 images  
Material Type
Artifact
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Materials
PAPER, INK
No. Pieces
1
Length
104
Width
68.8
Description
POSTER WITH IMAGE ON FRONT OF PURPLE AND BLUE SKY WITH SUNRISE AND PARATROOPERS DESCENDING OVER TOWN SURROUNDED BY MOUNTAINS AT BOTTOM EDGE. POSTER HAS WHITE BORDERS; POSTER HAS WHITE TEXT PRINTED ON IMAGE “IN OUR TIME NO FOREIGN ARMY HAS EVER OCCUPIED AMERICAN SOIL. UNTIL NOW” AND RED PRINTED TEXT BELOW WITH RUSSIAN SYLLABICS OVER “RED DAWN”; POSTER HAS WHITE CREDITS ALONG BOTTOM EDGE, “A VALKYRIE FILM A SIDNEY BECKERMAN PRODUCTION RED DAWN…” WITH LISTING OF CAST AND CREW MEMBERS. LOWER LEFT CORNER OF IMAGE HAS TEXT WARNING “PG-13, PARENTS ARE STRONGLY CAUTIONED TO GIVE SPECIAL GUIDANCE FOR ATTENDANCE OF CHILDREN UNDER 13, SOME MATERIAL MAY BE INAPPROPRIATE FOR YOUNG CHILDREN”, AND TEXT BESIDE “[COPYRIgHT SYMBOL” 1984 UNITED ARTISTS CORPORATION”; LOWER RIGHT CORNER OF IMAGE HAS LOGO “METRO GOLDWYN MAYER UNITED ARTISTS, DIAMOND JUBILEE, SIXTY YEARS OF GREAT ENTERTAINMENT”; POSTER HAS TEXT ALONG LOWER BORDER “PROPERTY OF NATIONAL SCREEN CORPORATION LICENSED FOR USE ONLY IN CONNECTION WITH THE EXHIBITION OF THIS PICTURE AT THE THEATRE LICENSING THIS MATERIAL. LICENSEE AGREES NOT TO TRADE, SELL OR GIVE IT AWAY, OR PERMIT OTHERS TO USE IT, NOR SHALL LICENSEE BE ENTITLED TO ANY CREDIT UPON RETURN OF THIS MATERIAL. THIS MATERIAL EITHER MUST BE RETURNED OR DESTROYED IMMEDIATELY AFTER USE. LITHO. IN U.S.A., RED DAWN 840077”. BACK OF POSTER HAS HANDWRITTEN TEXT IN RED INK IN LOWER LEFT CORNER “KEVIN MCLEAN $2.00” AND HANDWRITTEN TEXT IN BLUE INK “RED DAWN”. POSTER HAS TEARS AT RIGHT AND LEFT EDGES, AND LOWER EDGE; FRONT IS CREASED; BACK OF CORNERS HAS LOSS FROM REMOVAL OF ADHESIVES. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
LEISURE
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. THE OBJECTS DONATED BY MACLEAN REFLECTED HIS LIFE AND IDENTITY THROUGH HIS TIME IN LETHBRIDGE. ON THE “RED DAWN” FILM POSTER, MACLEAN ELABORATED, “THE POSTER [WAS] UP [IN MY ROOM].” “[IN] THE 1980S, AS A KID, AND I DON’T KNOW IF IT WAS JUST ME ‘CAUSE I WAS A NEWS JUNKIE, THE COLD WAR WAS A BIG DEAL IN THE EARLY ‘80S. THERE WERE SHOWS ON TV THAT WERE SCARING THE CRAP OUT OF ME. THERE WAS ONE CALLED "THE DAY AFTER" AND THAT WAS IN ’83. THEN IN 1984 THIS MOVIE COMES OUT WHICH IS CALLED RED DAWN WHICH IS, AGAIN, ABOUT RUSSIAN COMMUNIST INVASIONS OF NORTH AMERICA. IT’S A SMALL TOWN THAT ALL THESE TROOPS DROP INTO. TO SAY THE LEAST, I WAS SEMI-OBSESSED WITH THE SUBJECT MATTER.” “IF YOU WATCHED "THE DAY AFTER"…ON ONE HAND, THAT KIND OF SUBJECT MATTER CAN FEEL FOREIGN AND ABSTRACT AND NOT RELEVANT. BUT, IF AT THE SAME TIME YOU’RE A KID, AND YOUR PARENTS ARE WATCHING THE NEWS EVERY NIGHT, AND YOU HAVE AN INTEREST IN WHAT’S GOING ON—A LOT OF KIDS DON’T CARE BUT FOR SOME REASON, I WAS VERY INTERESTED. THEN YOU THOUGHT, “NO, THIS IS A VERY REAL PROSPECT. THIS COULD ACTUALLY HAPPEN.” I WAS TERRIFIED ABOUT IT. BUT, AT THE SAME TIME, I WAS ALSO ATTRACTED TO IT, LIKE A FLAME. IT WAS…ROCKETS…I DON’T KNOW WHAT IT WAS BUT I WAS ACTIVELY INTERESTED IN [THEM]. THEN AT SOME POINT, THAT PIVOTED, WHICH IS WHEN I KNOW I WAS LOOKING AT THE SOLDIER OF FORTUNE MAGAZINES AND THEN I STARTED BUYING COMIC BOOKS…WORLD WAR TWO COMIC BOOKS.” “WE DIDN’T HAVE MUCH TV OUT IN PICTURE BUTTE. [OTHER PEOPLE] PROBABLY HAD LOTS OF CHANNELS IN LETHBRIDGE. ONE CHANNEL WE DID HAVE—I THINK WE ONLY HAD THREE—WAS CBC. I REMEMBER [MY PARENTS] WATCHING THE NATIONAL. I THINK [THERE] WAS [A SHOW] CALLED THE JOURNAL WITH BARBARA FRUM [THAT MY PARENTS] WOULD WATCH AT TEN O’CLOCK EVERY SINGLE NIGHT. I WOULD SNEAK OUT OF MY ROOM AND HIDE BEHIND THE COUCH, AND [THE COLD WAR IS] ON THE NEWS EVERY SINGLE NIGHT.” “IN TERMS OF [THE COLD WAR] MANIFESTING ITSELF LOCALLY…I THINK TRUDEAU’S IN POWER, AND THERE’S A WHOLE DEBATE ABOUT CANADA HAVING NUKES IN THIS COUNTRY. ULTIMATELY, IT DIDN’T HAPPEN. BUT, THE U.S. WAS TESTING CRUISE MISSILES IN ALBERTA, AND NOT FAR FROM MY FRIEND’S HOUSE OUT NEAR PICTURE BUTTE, WHEN THE TALK OF A CRUISE MISSILE BEING TESTED IN ALBERTA WAS IN THE NEWS, ACTIVELY, PEOPLE WERE UNHAPPY AND PROTESTING. A BUNCH OF TRACTOR TRAILERS PULLED UP ON THE TOP OF A HILL, TWO MILES AWAY FROM [MY FRIEND’S] HOUSE, WITH U.S. LICENSE PLATES. OTHERWISE, THEY WERE TOTALLY UNMARKED. THEY BUILT THIS RADAR INSTALLATION UP ON THE TOP OF THE HILL, WHERE IT REMAINED…FOR THREE DAYS OR [SO]…AND THEN IT ALL DISAPPEARED.” “I CAN’T SAY THAT I KNOW FOR A FACT THAT IT WAS RELATED TO CRUISE MISSILE TESTING.” “GENERALLY TO SAY…WITH THESE [OBJECTS] I CAN DRAW A BIT OF A LINE FROM MY HAVING POSSESSED THEM ALL THE WAY, IN SOME FORM…THEY WOULD HAVE HAD AN IMPACT ON [MY] IDENTITY AND WHO I THINK I AM TODAY. I DON’T VALUE THEM BECAUSE THEY DON’T HAVE UTILITY AND THEY DON’T HAVE PRACTICAL VALUE. I DON’T LOOK AT THEM ALL THE TIME, BUT I KNOW THAT THEY HAVE SOME IMPORTANCE LIFE-WISE.” “IN SCHOOL, THERE WAS A GAME THAT WE WERE PLAYING. THIS IS AT A TIME WHEN THERE’S ONE COMPUTER FOR THE ENTIRE SCHOOL. IT WAS AN APPLE…AND IT WAS A WW2-BASED GAME. MY INTEREST, INITIALLY, WAS IN CONTEMPORARY-TYPE STUFF. THEN WE’RE PLAYING THIS GAME WHICH I’M NOT REALLY–IT’S ABSTRACT TO ME. WE’RE JUST PLAYING THIS GAME AND THEN, BECAUSE I’M INTO THIS, I’M BUYING MAGAZINES CALLED SOLDIER OF FORTUNE, AND I CAN REMEMBER FLIPPING THROUGH THE PAGES OF [THE] PROXY WAR IN AFGHANISTAN. [THE RUSSIANS] HAD GONE INTO AFGHANISTAN, AND I SAW A WW2 PICTURE AND I CONNECTED IT TO THIS GAME AND I [THOUGHT], “OH, THIS IS A REAL THING.” THEN, ALL OF A SUDDEN, THIS CONTEMPORARY STUFF IS OF LESSER INTEREST AND THEN IT BECOMES MORE SECOND WORLD WAR INTEREST AFTER THAT.” “MAYBE I STILL AM [THAT PERSON] TODAY A BIT…IN DIFFERENT RESPECTS. [THE OBJECTS] TAKE UP SOME SPACE BUT I COULDN’T LET THEM GO BECAUSE THEY’RE SYMBOLS, IN A WAY. THEY’RE ONLY THAT BECAUSE OF WHAT IS IN MY HEAD, SO I THOUGHT AT SOME POINT IT WAS GOOD TO [DONATE THEM]…IT WOULD HAVE BEEN MAYBE EASIER TO LET SOME OF THIS STUFF GO.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029001
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
NEON SIGN
Date Range From
1944
Date Range To
1990
Material Type
Artifact
Materials
METAL, GLASS, NEON GAS
Catalogue Number
P20110034000
Material Type
Artifact
Other Name
NEON SIGN
Date Range From
1944
Date Range To
1990
Materials
METAL, GLASS, NEON GAS
No. Pieces
3
Description
1) NEON SIGN- DARK BLUE PAINTED CORRUGATED METAL BODY, WHITE PAINTED BLOCK LETTERS “COMFORT STATION” ON FRONT. FOUR METAL HANGING TABS WITH BOLT HOLES ON BACK, 2 ON BOTTOM AND 2 ON TOP. WHITE NEON LIGHTS SPELLING “COMFORT STATION” RAISED OVER WHITE PAINTED LETTERS, SIGNIFICANT LOSS TO LIGHTS, OMFORT COMPLETELY GONE, LOSS TO T AND TION. C, S AND A LIGHTS STILL INTACT. DARK BLUE ELECTRICAL TAPE ON SOME AREAS OF LIGHTS. LIGHTS ATTACHED WITH WIRE TO CLEAR PLASTIC TUBE SUPPORTS SCREWED TO METAL BODY OF SIGN. THREE SCREW-ON REMOVABLE METAL PLATES ON TOP OF SIGN TO ACCESS INSIDE WIRING, LEFT AND RIGHT PLATES SQUARE AND CENTER PLATE LARGER RECTANGLE. YELLOW CIRCLE PAINTED ON FRONT TOP RIGHT CORNER AND TOP LEFT CORNER, RED AND BLUE LOGO PAINTED ON BOTTOM CENTER. LOSS OF PAINT ON RIGHT FRONT CORNER AND SCRATCHES ON BODY OF SIGN. (H-42.6 L-276.3 W-28.2) 2) NEON SIGN- DARK BLUE PAINTED CORRUGATED METAL BODY, WHITE PAINTED BLOCK LETTERS “WOMEN” ON FRONT. FOUR METAL HANGING TABS WITH SCREW HOLES, ONE ON EACH BACK CORNER. WHITE NEON LIGHTS SPELLING “WOMEN” RAISED OVER WHITE PAINTED LETTERS, LOSS TO WME AND N LIGHTS, O STILL INTACT. DARK BLUE ELECTRICAL TAPE ON SOME AREAS OF LIGHTS. LIGHTS ATTACHED WITH WIRE TO CLEAR PLASTIC TUBE SUPPORTS SCREWED TO METAL BODY OF SIGN. SCREW-ON REMOVABLE METAL PLATE ON TOP OF SIGN TO ACCESS INSIDE WIRING. LOSS OF PAINT ON LEFT SIDE AND ALONG FRONT EDGES. SCRATCHES ON BODY OF SIGN, BOTTOM LEFT TAB DISFIGURED. (H-32.0 L-92.7 W-25.6) 3) NEON SIGN- DARK BLUE PAINTED CORRUGATED METAL BODY, WHITE PAINTED BLOCK LETTERS “MEN” ON FRONT. FOUR METAL HANGING TABS WITH SCREW HOLES, ONE ON EACH BACK CORNER. WHITE NEON LIGHTS SPELLING “MEN” RAISED OVER WHITE PAINTED LETTERS, LOSS TO M LIGHT, E AND N STILL INTACT. DARK BLUE ELECTRICAL TAPE ON SOME AREAS OF LIGHTS. LIGHTS ATTACHED WITH WIRE TO CLEAR PLASTIC TUBE SUPPORTS SCREWED TO METAL BODY OF SIGN. SCREW-ON REMOVABLE METAL PLATE ON TOP OF SIGN TO ACCESS INSIDE WIRING, PLATE LOOSE. LOSS OF PAINT ON TABS AND SCRATCHES ON BODY OF SIGN. (H-32.3 L- 61.2 W-25.9)
Subjects
ADVERTISING MEDIUM
Historical Association
PERSONAL CARE
History
ACCORDING TO THE GALT ARCHIVES, "ONE OF THE UNIQUE BUILDINGS TO GRACE THE WEST SIDE OF THE GALT GARDENS SQUARE WAS THE PUBLIC RESTROOMS. CALLED THE COMFORT STATION, IT WAS USED FOR THE COMFORT OF SHOPPER AND PARK USERS FOR MORE THAN 50 YEARS. THE FIRST SUGGESTION OF A FACILITY IN GALT GARDENS TOOK PLACE IN JANUARY 1944. COUNCIL WISHED TO HAVE THE STRUCTURE LOCATED ON THE CORNER OF THIRD AVENUE AND FIFTH STREETS HOWEVER THEY CHOSE THE LOCATION OPPOSITE THE LETHBRIDGE HOTEL. BY NOVEMBER OF THAT YEAR THE CONSTRUCTION WAS UNDERWAY. THE COMFORT STATION’S HOUR OF OPERATION WERE 11:30 AM TO 7:00 PM SEPTEMBER TO MAY. IT WAS CLOSED ON SUNDAYS. IT KEPT THE SAME HOURS JUNE THROUGH AUGUST, BUT WAS CLOSED WEDNESDAYS. THERE WAS DISCUSSION OF LENGTHENING THE DAYLIGHT HOURS, BUT IT DEPENDED ON THE AVAILABILITY OF THE ATTENDANT(S). AN ATTENDANT WAS HIRED WITH THE DUTY OF CLEANING THE INTERIOR OF THE STATION DAILY TO ENSURE CLEANLINESS. THE SUPPLY OF TOWELS, TOILET PAPER, AND CUPS HAD TO BE KEPT COMPLETE. THE SURROUNDING AREA OF THE STATION WAS ALSO TO BE KEPT FREE OF TRASH, AND THE SIDEWALKS HAD TO BE KEPT CLEAR OF DEBRIS, AS WELL AS SNOW AND ICE IN THE WINTER MONTHS. THE ATTENDANT WAS ALSO RESPONSIBLE FOR LOOKING AFTER THE HEATING SYSTEM AND HAD TO BE AT THE STATION ½ HOUR BEFORE OPENING AND STAY FOR A ½ HOUR AFTER CLOSING. THE BUILDING SUFFERED THE RAVAGES OF TIME AND NEGLECT AS THE YEARS WENT BY. THE COMFORT STATION WAS NOT CLEANED AS OFTEN, AND PEOPLE DIDN’T WANT TO USE THE FACILITY DUE TO ITS UNCLEANLINESS. GRAFFITI ADORNED THE ONCE PRISTINE WALLS, AND THE INTERIOR WAS LEFT TO DECAY. THE BUILDING WAS SOON CLOSED, AND WAS DEMOLISHED IN THE EARLY 1990S WHEN PLANS FOR THE UPGRADE TO THE GALT GARDENS WERE MADE." ACCORDING TO JAY JOHNSTON ON JANUARY 3, 2012, “I FIRST BECAME AWARE OF THE NEON SIGNS WHEN I WAS PROCURING TWO CAR DAMAGED CITY LIGHTING POLES. THIS WAS FOR A SMALL SUMMER STOCK PRODUCTION THE DEPARTMENT (DRAMA) USED TO RUN, WHICH WAS BASICALLY ALL STUDENT RUN. I WAS THE RESIDENT DESIGNER AND MENTOR FOR THE TROUPE. AT THE SAME TIME AS GETTING THE POLES, I ALSO WAS GIVEN HALF A DOZEN STREET LAMP FIXTURES OF VARIOUS STYLES, SOME OF WHICH ARE NO LONGER IN EXISTENCE, THE CITY THAT IS, NOT THE ONES I HAD IN STORAGE. ON THE CITY’S PURCHASING DEPARTMENT’S LOADING DOCK, I SAW THE THREE SIGNS AND ASKED ABOUT THEM. I THOUGHT THAT THEY COULD BECOME THE CENTER PIECE OF A STUDENT PRODUCTION. I WAS TOLD IF I WANTED THEM TO BE PLACED INTO OUR PROPS DEPARTMENT, THEN I COULD HAVE THEM. THEY WERE LITERALLY ON THEIR WAY TO THE SCRAP METAL PILE THAT VERY SAME DAY. OF COURSE, I TOOK THEM, THEY WERE FREE AND PART OF LETHBRIDGE’S HISTORY. OUR SUMMER STOCK TROUPE ALWAYS DID A LOCAL CONTENT SHOW FOR A NUMBER OF YEAR RUNNING (IMPROVE). THE SIGNS ARE BASICALLY IN THE SAME CONDITION AS I FOUND THEM. WHEN I RECEIVED THEM, THEY WENT INTO STORAGE RIGHT AWAY AND HAVE REMAINED THERE FOR YEARS. I HAVE BEEN TRYING TO REMEMBER EXACTLY WHEN I PICKED THEM UP. AS FAR AS I CAN RECALL, THIS WAS ABOUT 1985. I COULD BE WRONG, BUT IT WAS THE SAME YEAR WE DID “TWO BEERS WITHOUT ASKING”. THE SIGNS HAVE NEVER BEEN USED IN ANY PRODUCTION. I JUST KEPT THEM IN THE DARK TO COIN A PHRASE. OF COURSE THERE WAS NO EXCHANGE OF MONIES IN ANY WAY SHAPE OR FORM. THEIR CONDITION IS BASICALLY THE SAME AS THE DAY I PICKED THEM UP.” FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20110034000
Acquisition Date
2011-11
Collection
Museum
Less detail
Other Name
"WORLD CITIZENS CENTRE"
Date Range From
1978
Date Range To
2000
Material Type
Artifact
Materials
CANVAS, THREAD, PAINT
Catalogue Number
P20120023000
  2 images  
Material Type
Artifact
Other Name
"WORLD CITIZENS CENTRE"
Date Range From
1978
Date Range To
2000
Materials
CANVAS, THREAD, PAINT
No. Pieces
1
Height
0.25
Length
60
Width
227.5
Description
MACHINE-STITCHED BANNER MADE OF OFF-WHITE, HEAVY CANVAS MATERIAL. SIX BRASS-COLOURED METAL GROMMETS AT CORNERS AND TOP AND BOTTOM CENTRE. CANVAS IS HANDPAINTED IN BROWN, ORANGE AND BLACK INK, WITH TEXT READING “WORLD CITIZENS CENTRE” AND AN IMAGE DEPICTING FOUR FIGURES LINKING HANDS AROUND A GEOMETRIC GLOBE SHAPE. FABRIC IS CREASED FROM PREVIOUS FOLDING. STAINING AND GENERAL GRIME THROUGHOUT, WITH MASKING TAPE RESIDUE AT INTERVALS ALONG THE TOP EDGE.
Subjects
ADVERTISING MEDIUM
Historical Association
ASSOCIATIONS
History
TRANSFER FROM GALT ARCHIVES. ACQUIRED AS PART OF THE WORLD CITIZENS CENTRE FONDS. THIS BANNER WAS USED BY THE WORLD CITIZENS CENTRE OF LETHBRIDGE TO PROMOTE THEIR ORGANIZATION AND PROGRAMMING AT PUBLIC EVENTS. THE SOCIETY OPENED ON NOVEMBER 6, 1978 AND ACTED AS A RESOURCE FOR EDUCATORS , SUPPLYING ACCESS TO BOOKS, TEACHING KITS, AND AUDIO-VISUAL PRESENTATIONS ON INTERNATIONAL DEVELOPMENT, CULTURAL AWARENESS AND GLOBAL STUDIES. THE CENTRE PUBLISHED A MONTHLY NEWSLETTER, STARTED THE TAPESTRY PROJECT (AN ANTI-RASCISM INITIATIVE), AND WORKED WITH NUMEROUS OTHER ORGANIZATIONS INCLUDING THE DEVELOPMENT EDUCATION COORDINATING COUNCIL OF ALBERTA, THE ALBERTA COUNCIL FOR GLOBAL JUSTICE, THE OPOSKAA’SIN EARLY INTERVENTION SOCIETY, SOUTHERN ALBERTA PROFESSIONAL DEVELOPMENT CONSORTIUM, AND LETHBRIDGE IMMIGRANT SETTLEMENT ASSOCIATION. THE CENTRE ALSO CONTIBUTED RESOURCES TO POPULAR PUBLIC EVENTS INCLUDING THE INTERNATIONAL FILM FESTIVAL AND INTERNATIONAL DINNERS. BY 1995 FEDERAL CUTS TO THE CANADIAN INTERNATIONAL DEVELOPMENT AGENCY, FROM WHICH THE CENTRE RECEIVED SIGNIFICANT FUNDING, CAUSED THE CENTRE TO SHIFT ITS FOCUS TO PROJECT-BASED GRANT FUNDING AND ULTIMATELY RESULTED IN THE CENTRE CLOSING IN 2000. FOR FURTHER INFORMATION SEE PERMANENT FILE.
Catalogue Number
P20120023000
Acquisition Date
2012-06
Collection
Museum
Images
Less detail
Date Range From
1987
Date Range To
2007
Material Type
Artifact
Materials
METAL
Catalogue Number
P20070006002
Material Type
Artifact
Date Range From
1987
Date Range To
2007
Materials
METAL
No. Pieces
2
Height
1.3
Length
1.9
Width
1.7
Description
1. GOLD-COLOURED PIN WITH IMAGE OF POST-OFFICE CLOCK TOWER AND SUN, TEXT IN BLACK READS, "DOWNTOWN LA." PIN ROUGHLY SQUARE-SHAPED. REVERSE WITH MULTPILE IMPRINTS READING, "TAIWAN." 2. PIN BACKING, BUTTERFLY CLIP STYLE.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
COMMEMORATIVE
History
PIN WAS NEVER WORN. PIN REPRESENTS EFFORTS BY THE DOWNTOWN LETHBRIDGE BUSINESS REVITALIZATION ZONE (BRZ) TO PROMOTE THE DOWNTOWN BUSINESS COMMUNITY. THE BRZ , FORMED IN 1987, IS A NON-PROFIT ORGANIZATION, RECEIVING FUNDING FROM A TAX LEVY IMPOSED ON THE 560+ BUSINESSES IT REPRESENTS. INFORMATION GATHERED FROM DOWNTOWNLETHBRIDGE.COM. FOR MORE INFORMATION, SEE P20070006001 AND PERMANENT RECORD.
Catalogue Number
P20070006002
Acquisition Date
2007-02
Collection
Museum
Less detail

ORNAMENT, CHRISTMAS TREE

https://collections.galtmuseum.com/en/permalink/artifact12042
Other Name
ANGEL
Date Range From
1960
Date Range To
2003
Material Type
Artifact
Materials
PLASTIC, COTTON
Catalogue Number
P20030049032
  1 image  
Material Type
Artifact
Other Name
ANGEL
Date Range From
1960
Date Range To
2003
Materials
PLASTIC, COTTON
No. Pieces
1
Length
18
Width
9
Description
PLASTIC ANGEL WITH WINGS IN A CLOUD OF COTTON. GLD STRING ATTACHED TO TOP OF ANGEL. ANGEL HAS CHILD-LIKE APPEARANCE WITH CLOSED EYES, ROSY CHEEKS, AND HANDS FOLDED IN PRAYER GESTURE. FACE AND WINGS ARE HAND PAINTED. YLLW WINGS ON BACK. ANGEL IS SITTING IN A CLOUD MADE FROM COTTON WITH SPARKLES AND FIVE SILVER STARS.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
BELONGED TO DONOR'S AUNT, IRIS STEWART. SEE P20030049001 FOR COMPLETE HISTORY.
Catalogue Number
P20030049032
Acquisition Date
2003-10
Collection
Museum
Images
Less detail
Other Name
INTERIOR MARQUEE AND LETTERS
Date Range From
1950
Date Range To
2007
Material Type
Artifact
Materials
METAL AND PLEXIGLASS
Catalogue Number
P20070023003
Material Type
Artifact
Other Name
INTERIOR MARQUEE AND LETTERS
Date Range From
1950
Date Range To
2007
Materials
METAL AND PLEXIGLASS
No. Pieces
15
Height
16.1
Length
386.4
Width
28.4
Description
BLACK METAL BOX WITH WHITE PLEXIGLASS SHEET BROKEN INTO TWO PIECES THAT SLIDE INTO FRONT OF BOX. PLEXIGLASS LETTERS SPELLING OUT "LICENSE TO WED" CAN BE ATTACHED TO THE WHITE PLEXIGLASS SHEET - 15 PIECES. 1. WHITE PLASTIC SHEET, SLID INTO OPEN SIDE OF METAL BOX OF INTERIOR MARQUEE, BROKEN IN HALF, RED CURSIVE TEXT READS, "PARAMOUNT" ON ONE PIECE OF SHEET, BLACK STICKER WITH YELLOW TEXT READS, "DOLBY DIGITAL" ON OTHER PIECE OF SHEET. 2 PCES. "PARAMOUNT" PIECE MEASURES 175.8 CM LONG BY 27.6 CM WIDE BY 2.0 CM HIGH. "DOLBY" PIECE MEASURES 216.0 CM LONG BY 27.6 CM WIDE BY 22.0 CM HIGH. 2. INTERIOR MARQUEE, LONG BLACK METAL BOX, SILVER STICKER ON OUTSIDE OF BOX READS, "NATIONAL NEON..."INTERIOR OF BOX PAINTED WHITE, VARIOUS ELECTRICAL CORDS AND COMPONENTS AFFIXED TO INSIDE OF BOX. PLASTIC BAGGIE CONTAINS HARDWARE LIKELY USED TO MOUNT MARQUEE TO WALL. 386.4 CM LONG BY 28.4 CM WIDE BY 16.1 CM HIGH. 12 RECTANGULAR PLEXIGLASS SHEETS, EACH WITH BLUE LETTER: 4. LETTER, "L," TEXT READS, "PAT. 1967." HEIGHT 0.3, LENGTH 17.8, WIDTH 11.5. 5. LETTER, "I," TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 7.7. 6. LETTER, "C," TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 11.6. 7. LETTER, "E," TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 11.3. 8. LETTER, "N." HEIGHT 0.3, LENGTH 17.8, WIDTH 12.8. 9. LETTER, "S," TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 11.3. 10. LETTER, "E," WORN TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 11.3. 11. LETTER, "T," WORN TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 11.8. 12. LETTER, "O," TEXT READS, "PAT. 1967." HEIGHT 0.3, LENGTH 17.8, WIDTH 13.3. 13. LETTER, "W," TEXT READS, "PAT. 1967." HEIGHT 0.3, LENGTH 17.8, WIDTH 15.9. 14. LETTER, "E," TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 11.3. 15. LETTER, "D," TEXT READS, "ROTOMATIC." HEIGHT 0.3, LENGTH 17.8, WIDTH 12.7.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
History
INTERIOR MARQUEE HUNG HORIZONTALLY OVERTOP OF THE ENTRY DOORS TO CINEMA ONE. THE WHITE PLASTIC SHEET SLID INTO THE OPEN END OF THE METAL BOX, AND THE PLEXIGLASS LETTERS IN TURN SLID IN FRONT OF THE PLASTIC SHEET. THE INTERIOR OF THE BOX WAS ILLUMINATED, LIGHTING UP THE LETTERS FROM BEHIND. THE LETTERS SPELL OUT, "LICENSE TO WED," WHICH WAS THE LAST MOVIE THAT WAS SHOWN IN CINEMA ONE AT THE PARAMOUNT THEATRE IN 2007. FOR MORE INFORMATION, SEE P20070023001 AND PERMANENT RECORD.
Catalogue Number
P20070023003
Acquisition Date
2008-08
Collection
Museum
Less detail
Other Name
NEON SIGN
Date Range From
1955
Date Range To
1997
Material Type
Artifact
Materials
PLASTIC, METAL
Catalogue Number
P20020043000
Material Type
Artifact
Other Name
NEON SIGN
Date Range From
1955
Date Range To
1997
Materials
PLASTIC, METAL
No. Pieces
1
Height
380
Length
79
Width
91
Description
PLASTIC BACKLIT NEON "LEO SINGER MEN'S AND BOY'S WEAR" SIGN. RECTANGULAR SIGN FEATURES A BLK AND YLLW CHECKERED DESIGN. CHECKERS DISPLAY NEON FOUR POINT STAR-LIKE LIGHTING. FEW OF THE NEON SHAPES ARE BROKEN WITH TWO MISSING. CENTER OF SIGN DISPLAYS RD T-SHAPE WITH THE TEXT "LEO" A CROSSED THE TOP AND "SINGER" VERTICALLY DISPLAYED BELOW. LETTERS ARE WHT WITH NEON LETTERS REPEATED ON TOP. SIDE OF SIGN IS RD WITH YLLW VERTICAL TEXT THAT READS "MEN'S AND BOY'S WEAR". MANUFACTURER LABEL ON BOTTOM READS "NEPRO". OTHER SIDE OF SIGN IS PAINTED WHT AND DISPLAYS VENTILATION PANELS WITH ONE PANEL MISSING. SIGN HAS SOME VISIBLE RUST AND THE PAINT IS CHIPPED IN VARIOUS AREAS.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
NEON SIGN WAS REMOVED FROM LEO SINGER'S CLOTHING STORE IN 2002. LEO SINGER WAS BORN IN ROMANIA AND IMMIGRATED TO RUMSEY, ALBERTA WITH HIS MOTHER. HIS FATHER WAS KILLED IN WWI. LEO AND HIS MOTHER MOVED TO CALGARY, WHERE HE ATTENDED SCHOOL AND LATER GARBER COLLEGE. IN 1930, HE OPENED A RETAIL CLOTHING STORE IN LETHBRIDGE AND FINALLY MOVED HERE IN 1932. ONE OF THE REASONS HE DECIDED TO MOVE, WAS TO PLAY FOR THE LETHBRIDGE JEWISH ASSOCIATION BASEBALL TEAM. SINGER MET HIS WIFE PHYLLIS IN MONTREAL, WHERE SHE WAS BORN AND RAISED, AND THEY MARRIED IN 1942. HE WAS ACTIVE IN THE LETHBRIDGE COMMUNITY AND WAS INVOLVED IN THE PLANNING AND DEVELOPMENT OF THE U OF L. HE WAS A MEMBER OF THE JEWISH ASSOCIATION, OF WHICH HE WAS PRESIDENT FOR 17 YEARS; THE KIWANIS CLUB, WHICH WAS THE FIRST CLUB IN LETHBRIDGE THAT ALLOWED HIM TO JOIN; RESERVE ARMY, CHAMBER OF COMMERCE, UNITED WAY, LEGION, LABOR CLUB, ARMY AND NAVY, ETCETERA. HE VOLUNTEERED MUCH OF HIS TIME WITH DIFFERENT CLUBS AND ORGANIZATIONS BECAUSE HE FELT THAT THE COMMUNITY HAD TREATED HIM WELL AND HE WANTED TO SHOW HIS GRATITUDE. IN 1930, HE OPENED A STORE ON THE HIGINBOTHAM BLOCK, MOVING THE STORE IN 1940 TO 214 5 ST. S. SINGER'S WAS THE FIRST IN THE CITY TO SPORT A FLASHING NEON SIGN. NAMED LEO SINGER MEN'S AND BOY'S WEAR IN 1955, THE BOY'S CLOTHING ASPECT WAS PHASED OUT IN THE LATE 1980S OR EARLY 90S. SINGER HANDLED BOYS' WEAR PRIMARILY BECAUSE HE WAS THE SOLE DISTRIBUTOR FOR SCOUTS CANADA IN SOUTHERN ALBERTA. MORE THAN 50,000 SCOUTS WERE OUTFITTED BY UNIFORMS SUPPLIED THROUGH SINGER. HE ALSO SUPPLIED THE CITY'S POLICE AND FIRE DEPARTMENTS WITH UNIFORMS FOR MORE THAN 30 YEARS. SINGER'S MOTTO AND TRADEMARK WERE "IT'S NOT THE SALE THAT COUNTS -- IT'S THE CUSTOMER". BEING RAISED IN CALGARY HE WAS INSPIRED TO ENTER THE RETAIL CLOTHING BUSINESS AS A TEENAGER, WHO SPENT AFTER-SCHOOL HOURS WORKING FOR A CLOTHIER AND LATER ENROLLED IN BUSINESS SCHOOL. SINGER SAID HE FELL IN LOVE WITH LETHBRIDGE DURING A WEEKEND BASEBALL TOURNAMENT AND DECIDED TO STAY. LEO SINGER PASSED AWAY IN JANUARY OF 1997. SEE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20020043000
Acquisition Date
2002-06
Collection
Museum
Less detail
Other Name
SET OF MINING FIGURES
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
LEAD
Catalogue Number
P20030051001
Material Type
Artifact
Other Name
SET OF MINING FIGURES
Date Range From
1980
Date Range To
1990
Date
1980
Materials
LEAD
No. Pieces
9
Description
1. 4.3 x 8.4 x 2.8. FEATURES A SHORT LENGTH OF RAILROAD TRACK, WITH ROCKS (OR PIECES OF COAL) BETWEEN THE TIES. ON TOP OF TRACK IS A COAL MINER (WITH CAP, LAMP AND BATTERY PACK) PUSHING A CART FULL OF COAL. COAL CART IS ON A SLIGHT ANGLE (A BIT HIGHER IN THE BACK), AND THERE IS MORE COAL TOWARDS BACK. UNDERSIDE OF FIGURINE HAS VARIOUS CIRCLES DRAWN INTO LEAD WITH NUMBERS 2, 3, OR 4 WITHIN CIRCLES . 2. 4.0 X 8.6 X 3.0. SAME AS ABOVE, WITH ONE DIFFERENCE: COAL CART IS REVERSED (HIGHER IN FRONT AND MORE COAL TOWARDS FRONT). 3. 4.8 X 9.3 X 2.8. 2 PIECES. FEATURES A LENGTH OF RAILROAD TRACK, WITH ROCKS (OR COAL) BETWEEN THE TIES. THERE IS A MAN STANDING AT ONE END OF TRACK, AND HE IS LEANING TO ONE SIDE. HE HAS A LENGTH OF ROPE AROUND HIS SHOULDERS, AND IS HOLDING IT IN EACH HAND. ROPE APPEARS TO BE BROKEN AT ONE END. THERE IS A HAND CART THAT HAS BROKEN OFF OF TRACK. CART HAS 2 HOLES IN IT. THERE IS A FAINT X PATTERN ON UNDERSIDE OF FIGURINE. 4. 4.2 X 10.0 X 3.0. FEATURES A LENGTH OF RAILROAD TRACK, WITH ROCKS (OR COAL) BETWEEN THE TIES. ON TRACK IS A COAL CART ATTACHED TO A HORSE. THERE IS A MAN, WITH A PAGEBOY CAP ON, SITTING ON HITCH OF COAL CART. UNDERSIDE OF FIGURINE HAS VARIOUS CIRCLES DRAWN INTO LEAD WITH NUMBERS 2, 3, OR 4 WITHIN CIRCLES . 5. 4.1 X 5.5 X 4.5. HAS AN OVAL BASE. FEATURES A MAN SITTING IN AN OVAL WASHTUB ON TOP OF A RECTANGULAR RUG. THERE IS A WOMAN, IN A DRESS, WASHING MAN'S BACK. CRUMPLED CLOTHES AND BOOTS ARE ON FLOOR. ETCHED INTO UNDERSIDE OF FIGURINE IS "10-4-80 AMMONITE LTD.". 6. 4.7 X 7.3 X 5.2. HAS AN OVAL BASE. FEATURES 3 COAL MINERS. 2 ARE SITTING, ONE IS STANDING. STANDING MAN IS DRINKING FROM A CANTEEN. ONE SITTING MAN HAS HANDS BEHIND HEAD, OTHER MAN'S HANDS ARE ON HIS KNEES. THERE ARE VARIOUS TOOLS AND EQUIPMENT ON GROUND. ETCHED INTO UNDERSIDE OF FIGURINE IS "10-4-8 AMMONITE LTD.". 7. 4.2 X 8.6 X 2.9. SAME AS #2 EXCEPT COAL CART IS NOT ON AN ANGLE. 8. 6.4 X 3.2 X 1.6. FEATURES A COAL MINER STANDING ON A ROUGH LANDSCAPE (RECTANGULAR BASE). MINER HAS ONE HAND ON BELT AND OTHER IS HOLDING A PICK AXE. MINER IS WEARING CAP WITH LAMP.
Subjects
ART
Historical Association
COAL MINING
ASSOCIATIONS
History
RETRIEVED FROM THE MINERS' LIBRARY BUILDING ON 13TH STREET NORTH AFTER ITS CLOSURE. LIBRARY MATERIALS AND MINING MEMORABILIA WERE KEPT IN A DISPLAY CASE LOCATED IN THE SOUTH WEST CORNER OF THE MAIN FLOOR CLUB ROOM. THE ORIGIN OF THE LETHBRIDGE MINERS' LIBRARY BEGINS WITH THE ESTABLISHMENT OF A LIBRARY AND READING ROOM BY THE EMPLOYEES OF THE ALBERTA RAILWAY AND COAL CO., IN 1890. THE ESTABLISHMENT OF THE LIBRARY WAS FOLLOWING IN THE TRADITION OF THE MECHANICS' LIBRARIES, ALSO CALLED MECAHNICS' INSTITUTES, THAT SPRANG UP ACROSS EASTERN NORTH AMERICA IN THE MID 1800S. THEY WERE SELF-HELP INSTITUTES SET UP BY WORKING MEN TO PROVIDE EDUCATION FOR WORKING MEN SO THEY COULD BETTER THEMSELVES IN LIFE. THE MINERS' LIBRARY WAS VERY IMPORTANT TO THOSE WHO WANTED TO MOVE UP THE ECHELON IN THE COAL MINE. IT WAS ORIGINALLY HOUSED IN A SMALL BUILDING NEXT DOOR TO 108 5TH STREET SOUTH, AND MEMBERSHIP WAS NOT RESTRICTED TO MINERS. A YEAR LATER THE EMPLOYEES RENOVATED THE FORMER #1 BOARDING HOUSE, LOCATED ON THE NORTH SIDE OF MACLEOD ROAD, FOR RELOCATION OF THE LIBRARY AND WHEN THIS LARGER BUILDING OPENED IT IS SAID TO HAVE HAD 300 BOOKS. WITH THE REORGANIZATION OF THE GALT COMPANIES IN 1904, THE AR&C COMPANY'S EMPLOYEES' READING ROOM AND LIBRARY SOCIETY BECAME THE ALBERTA RAILWAY AND IRRIGATION COMPANY'S EMPLOYEE'S READING ROOM AND LIBRARY SOCIETY. THE LIBRARY CONTAINED 1500 BOOKS, PLUS MANY MAGAZINES AND NEWSPAPERS. IN 1908 THE SOCIETY WAS REFERRED TO AS THE GALT MINER'S LIBRARY, AND STILL IN THE #1 BOARDING HOUSE BUILDING, IT CONTAINED A BILLIARD ROOM AND GYMNASIUM. THE NEXT KNOWN MOVE OF THE LIBRARY WAS IN 1917 WHEN THE GALT MINES LIBRARY PURCHASED THE BAILEY ST. SCHOOL AND MOVED IT TO 733 13TH ST. NORTH - WHERE IT IS STILL PART OF THE MODERN BUILDING THAT USED TO BE THE MINER'S LIBRARY. AFTER THE ESTABLISHMENT OF A LIBRARY IN THE YMCA IN 1919 AND THE CONSTRUCTION OF THE CARNEGIE FUNDED LIBRARY IN GALT GARDENS, THE 'LIBRARY AND READING ROOM' ACTIVITIES BECAME OF LESSER IMPORTANCE. THE MINERS' LIBRARY BECAME MORE OF A SOCIAL CLUB WHICH HAS GIVEN GREAT FINANCIAL SUPPORT TO MANY ASPECTS OF THE LETHBRIDGE COMMUNITY. A BAR AREA IN THE CLUB'S BASEMENT PROVIDED A SPACE FOR PRIVATE FUNCTIONS SUCH AS WEDDINGS, OFFICE PARTIES, FUNERALS AND VARIOUS CLUB ACTIVITIES. THE UPSTAIRS BLACK NUGGET LOUNGE OFFERED MEALS, DRINKS, LIVE MUSIC, DARTS, POOL, CRIB AND VLTS. LONG TIME MEMBERS COULD BUY THEIR CHAIR AND HAVE THEIR NAME ON IT. A REGISTERED NON-PROFIT SOCIETY, THE CLUB MADE CONTRIBUTIONS TO THE FORMER ADAMS PARK BALL FIELD AND SPECTATOR STANDS, AND SUPPORTED MANY SPORTS AND SPORTS TEAMS THROUGH THE YEARS. THERE ARE ALSO SEVERAL PARKS THAT HAVE THEIR ROOTS IN FUNDS FROM THE LIBRARY. THE CLUB WAS INSTRUMENTAL IN BUILDING PAVAN PARK, AND VARIOUS SPORTS VENUES. AS MEMBERSHIP IN THE CLUB DWINDLED THE CLUB'S SALES COULD NOT COVER THE DAILY COSTS OF RUNNING THE OPERATION. IN 2000 FUNDRAISING EFFORTS WERE UNDERTAKEN, AND ALONG WITH AN AUCTION AND CRAFT AND BAKE SALES, THE CLUB SOLICITED DONATIONS FOR THE FIRST TIME IN ITS HISTORY. HOWEVER, BY 2003 THE CLUB HAD ONLY 300 MEMBERS (LESS THAN 1/3 OF THAT 3 YEARS PRIOR) AND AFTER 113 YEARS IT WAS FORCED TO CLOSE IT'S DOORS. AT THE TIME OF ITS CLOSURE THE LETHBRIDGE MINERS' LIBRARY CLUB WAS THE LONGEST STANDING MEN-ONLY CLUB, AND THE OLDEST CONTINUALLY RUNNING CLUB IN ALBERTA.
Catalogue Number
P20030051001
Acquisition Date
2004-04
Collection
Museum
Less detail
Other Name
IDENTIFICATION TAG
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
TIN, PAPER, PLASTIC
Catalogue Number
P20000011034
Material Type
Artifact
Other Name
IDENTIFICATION TAG
Date Range From
1980
Date Range To
1990
Materials
TIN, PAPER, PLASTIC
No. Pieces
1
Height
0.4
Diameter
6.4
Description
CIRCULAR. OBVERSE IS LIGHT YELLOW WITH BLUE PRINT. AROUND PERIMETER READS "SOUTHERN ALBERTA ANTIQUE & CLASSIC AUTO CLUB LETHBRIDGE". IN CENTER, IN BLACK FELT PEN IS "EVERTT A. STEWART" [sic]. FRONT OF BUTTON HAS PLASTIC COVERING. BACK OF BUTTON HAS BRASS SAFETY PIN.
Subjects
ADVERTISING MEDIUM
DOCUMENTARY ARTIFACT
Historical Association
ASSOCIATIONS
LEISURE
History
CAME FROM THE BELONGINGS OF DONOR'S FATHER EVERETT STEWART. BORN IN 1912 TO WILLIAM AND SARAH JANE (CUTT) STEWART IN INDIAN HEAD, SASKATCHEWAN. HIS FAMILY FARMED UNTIL THE 1930S, WHEN THE DROUGHT HIT AND HARD TIMES FORCED THEM TO MOVE. EVERETT STAYED AND ATTENDED THE UNIVERSITY OF SASKATCHEWAN AT SASKATOON WHERE HE GRADUATED WITH A DEGREE IN PHARMACY IN 1937. HE THEN WORKED IN PHARMACIES IN INDIAN HEAD AND REGINA. ON JUNE 15, 1939, EVERETT MARRIED MARJORIE BAILEY. HE THEN SIGNED UP WITH THE CANADIAN ARMED FORCES AS AN ARTILLERY OFFICER IN WWII. THEIR DAUGHTER MARGARET JEAN (DONOR) WAS BORN ON MAY 31, 1943. AFTER THE WAR, WITH FUNDING GIVEN TO VETERANS, EVERETT OPENED HIS OWN DRUG STORE IN SUTHERLAND, SASKATCHEWAN. HIS WAS THE FIRST DRUG STORE IN SUTHERLAND AND HE STRUGGLED WITH MAKING IT A VIABLE BUSINESS. THEN IN 1949 HE SOLD THE BUSINESS AND TOOK A SALES POSITION WITH CHARLES E. FROSST & COMPANY WHICH WAS THE LAST WHOLLY OWNED CANADIAN DRUG FIRM. HE AND HIS FAMILY WERE MOVED TO BRANDON, MANITOBA (1949 TO 1955). THE FIRM THEN TRANSFERRED EVERETT TO LETHBRIDGE, WHERE HE REMAINED. AFTER HIS WIFE MARJORIE DIED (1905-1967) HE KEPT BUSY WITH HIS VAST COIN COLLECTION THAT WAS HIS PASSION. HE ATTENDED MANY COIN SHOWS THROUGHOUT CANADA AND THE U.S. AND BOUGHT, TRADED, AND SOLD MOSTLY CANADIAN COINS. THEN ON JULY 22, 1974, HE MARRIED IRENE EVANS (1906-2002) FROM BILLINGS MONTANA. IN 1976 FROSST & CO. RETIRED EVERETT. AFTER THAT THEY SPENT 6 MONTHS A YEAR IN LETHBRIDGE AND 6 MONTHS IN MESA, ARIZONA. EVERETT WAS A LONG TIME MEMBER AND PAST PRESIDENT OF THE ASSOCIATED CANADIAN TRAVELERS IN BRANDON, MANITOBA AND LETHBRIDGE, ALBERTA; A FOUNDING MEMBER AND THE FIRST PRESIDENT OF THE LION'S CLUB IN SUTHERLAND, SASKATCHEWAN; A MEMBER OF THE MASONIC LODGE AND THE LETHBRIDGE AL AZHAR SHRINE CLUB. BESIDES HIS EVER-GROWING COIN COLLECTION, HE RESTORED A 1926 MODEL A FORD. EVERETT PASSED AWAY IN HIS HOME FROM CANCER IN 1993.
Catalogue Number
P20000011034
Acquisition Date
2004-06
Collection
Museum
Less detail
Other Name
FROSST
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
PARTICLE BOARD
Catalogue Number
P20000011024
Material Type
Artifact
Other Name
FROSST
Date Range From
1980
Date Range To
1990
Materials
PARTICLE BOARD
No. Pieces
1
Height
0.3
Length
29.2
Width
16.3
Description
OVAL SHAPED WITH RECTANGULAR PROTRUSION AT BOTTOM. OBVERSE IS PAINTED BLUE WITH WHITE OVAL OUTLINE WITH "FROSST" IN THE CENTER, ALSO IN WHITE. REVERSE IS UNFINISHED. ONE LARGE SCRATCH IN UPPER LEFT OF SIGN, VARIOUS SMALLER SCRATCHES ABOVE AND BELOW. FRONT OF SIGN HAS MANY MARKS ON PAINT.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
CAME FROM THE BELONGINGS OF DONOR'S FATHER EVERETT STEWART. BORN IN 1912 TO WILLIAM AND SARAH JANE (CUTT) STEWART IN INDIAN HEAD, SASKATCHEWAN. HIS FAMILY FARMED UNTIL THE 1930S, WHEN THE DROUGHT HIT AND HARD TIMES FORCED THEM TO MOVE. EVERETT STAYED AND ATTENDED THE UNIVERSITY OF SASKATCHEWAN AT SASKATOON WHERE HE GRADUATED WITH A DEGREE IN PHARMACY IN 1937. HE THEN WORKED IN PHARMACIES IN INDIAN HEAD AND REGINA. ON JUNE 15, 1939, EVERETT MARRIED MARJORIE BAILEY. HE THEN SIGNED UP WITH THE CANADIAN ARMED FORCES AS AN ARTILLERY OFFICER IN WWII. THEIR DAUGHTER MARGARET JEAN (DONOR) WAS BORN ON MAY 31, 1943. AFTER THE WAR, WITH FUNDING GIVEN TO VETERANS, EVERETT OPENED HIS OWN DRUG STORE IN SUTHERLAND, SASKATCHEWAN. HIS WAS THE FIRST DRUG STORE IN SUTHERLAND AND HE STRUGGLED WITH MAKING IT A VIABLE BUSINESS. THEN IN 1949 HE SOLD THE BUSINESS AND TOOK A SALES POSITION WITH CHARLES E. FROSST & COMPANY WHICH WAS THE LAST WHOLLY OWNED CANADIAN DRUG FIRM. HE AND HIS FAMILY WERE MOVED TO BRANDON, MANITOBA (1949 TO 1955). THE FIRM THEN TRANSFERRED EVERETT TO LETHBRIDGE, WHERE HE REMAINED. AFTER HIS WIFE MARJORIE DIED (1905-1967) HE KEPT BUSY WITH HIS VAST COIN COLLECTION THAT WAS HIS PASSION. HE ATTENDED MANY COIN SHOWS THROUGHOUT CANADA AND THE U.S. AND BOUGHT, TRADED, AND SOLD MOSTLY CANADIAN COINS. THEN ON JULY 22, 1974, HE MARRIED IRENE EVANS (1906-2002) FROM BILLINGS MONTANA. IN 1976 FROSST & CO. RETIRED EVERETT. AFTER THAT THEY SPENT 6 MONTHS A YEAR IN LETHBRIDGE AND 6 MONTHS IN MESA, ARIZONA. EVERETT WAS A LONG TIME MEMBER AND PAST PRESIDENT OF THE ASSOCIATED CANADIAN TRAVELERS IN BRANDON, MANITOBA AND LETHBRIDGE, ALBERTA; A FOUNDING MEMBER AND THE FIRST PRESIDENT OF THE LION'S CLUB IN SUTHERLAND, SASKATCHEWAN; A MEMBER OF THE MASONIC LODGE AND THE LETHBRIDGE AL AZHAR SHRINE CLUB. BESIDES HIS EVER-GROWING COIN COLLECTION, HE RESTORED A 1926 MODEL A FORD, AND TRAVELLED WESTERN CANADA AS AN AVID CURLER. EVERETT PASSED AWAY IN HIS HOME FROM CANCER IN 1993.
Catalogue Number
P20000011024
Acquisition Date
2004-06
Collection
Museum
Less detail
Other Name
TARGET IRRIGATION LTD.
Date Range From
1980
Date Range To
2000
Material Type
Artifact
Materials
BRASS
Catalogue Number
P19990029040
  2 images  
Material Type
Artifact
Other Name
TARGET IRRIGATION LTD.
Date Range From
1980
Date Range To
2000
Materials
BRASS
No. Pieces
1
Height
1.1
Diameter
7.1
Description
CIRCULAR, BRASS BUCKLE. DESIGN ON FRONT CONSISTS OF CONCENTRIC CIRCLES. EMBOSSED AROUND PERIMETER IS "TARGET IRRIGATION LTD. TABER ALBERTA". ON THE BACK IS A D-RING. ETCHED INTO BACK IS "B.K. BELTS & BUCKLES P.O. BOX 5363 STN. A CALGARY ALBERTA T2H 1X8".
Subjects
CLOTHING-ACCESSORY
ADVERTISING MEDIUM
Historical Association
INDUSTRY
History
ARTIFACTS PURCHASED BY DONOR AT VARIOUS ANTIQUE SHOPS, GARAGE SALES, ETC. FOR THE PURPOSE OF DONATING TO THE MUSEUM. ARTIFACTS WERE PURCHASED FROM 1999 TO 2002 WHILE DONOR WAS DIRECTOR OF THE GALT MUSEUM. SEE PREVIOUS DONATIONS.
Catalogue Number
P19990029040
Acquisition Date
2002-11
Collection
Museum
Images
Less detail
Other Name
LETHBRIDGE REGIONAL SCIENCE FAIR
Date Range From
1970
Date Range To
1990
Material Type
Artifact
Materials
TIN, PLASTIC
Catalogue Number
P19990029028
Material Type
Artifact
Other Name
LETHBRIDGE REGIONAL SCIENCE FAIR
Date Range From
1970
Date Range To
1990
Materials
TIN, PLASTIC
No. Pieces
1
Height
0.5
Diameter
6.4
Description
ROUND BUTTON. BACKGROUND IS YELLOW WITH BLACK PRINT. IN THE CENTRE IS THE IMAGE OF A HAND HOLDING A WAND? WITH STARS, MOON, AND SUN AROUND IT. PERIMETER OF BUTTON READS "LETHBRIDGE REGIONAL SCIENCE FAIR". AROUND EDGE OF BUTTON READS "MANUFACTURED BY THE REHAB WORKSHOP * 1610 29 ST NORTH * LETHBRIDGE * ALBERTA * PHONE 329-3911 * * * ".
Subjects
ADVERTISING MEDIUM
Historical Association
EDUCATION
History
ARTIFACTS PURCHASED BY DONOR AT VARIOUS ANTIQUE SHOPS, GARAGE SALES, ETC. FOR THE PURPOSE OF DONATING TO THE MUSEUM. ARTIFACTS WERE PURCHASED FROM 1999 TO 2002 WHILE DONOR WAS DIRECTOR OF THE GALT MUSEUM. SEE PREVIOUS DONATIONS.
Catalogue Number
P19990029028
Acquisition Date
2002-11
Collection
Museum
Less detail
Other Name
ROYAL CANADIAN LEGION
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
BRASS, ENAMEL
Catalogue Number
P19990029030
  1 image  
Material Type
Artifact
Other Name
ROYAL CANADIAN LEGION
Date Range From
1990
Date Range To
2000
Materials
BRASS, ENAMEL
No. Pieces
1
Height
0.7
Length
2.6
Width
2.4
Description
PIN IS ROUND WITH A BANNER ACROSS THE CENTER. BANNER IS LIGHT BLUE AND READS "GENERAL STEWART BRANCH NO. 4". ABOVE PANNER IS A PLANE AND BELOW IS A TANK OVERLAID WITH AN ANCHOR AND "60" TO THE SIDE. AROUND PERIMETER OF PIN IS A DARK BLUE BORDER WITHIN WHICH READS "ROYAL CANADIAN LEGION LETHBRIDGE, ALBERTA". HAS A PIN AND ROTATING CLASP ON BACK.
Subjects
PERSONAL SYMBOL
ADVERTISING MEDIUM
Historical Association
ASSOCIATIONS
History
THE "60" ON PIN REFERS TO THE ORIGINS OF THE ROYAL CANADIAN LEGION, AS IN 1960 THE NAME WAS CHANGED FROM THE BRITISH EMPIRE SERVICE LEAGUE. ARTIFACTS PURCHASED BY DONOR AT VARIOUS ANTIQUE SHOPS, GARAGE SALES, ETC. FOR THE PURPOSE OF DONATING TO THE MUSEUM. ARTIFACTS WERE PURCHASED FROM 1999 TO 2002 WHILE DONOR WAS DIRECTOR OF THE GALT MUSEUM. SEE PREVIOUS DONATIONS.
Catalogue Number
P19990029030
Acquisition Date
2002-11
Collection
Museum
Images
Less detail
Other Name
PEN & INK; WHEN THE REDMAN SPEAKS
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
PAPER, GLASS, ALUMINUM
Catalogue Number
P20010101000
  1 image  
Material Type
Artifact
Other Name
PEN & INK; WHEN THE REDMAN SPEAKS
Date Range From
1990
Date Range To
2000
Materials
PAPER, GLASS, ALUMINUM
No. Pieces
1
Height
2.2
Length
61.5
Width
49.0
Description
BLACK INK ON A WHITE BACKGROUND. PICTURES A NATIVE IN TRADITIONAL DRESS, SITTING ON A HORSE, HOLDING A SPEAR IN ONE HAND. HORSE IS ATOP A KNOLL AND VISIBLE IN THE DISTANCE IS SMOKE FROM A FIRE. IN FOREGROUND IS A BUFFALO SKULL. THERE IS ALSO A BIRD IN THE SKY IN THE BACKGROUND. IN BOTTOM RIGHT HAND CORNER IS "ALLEN WELLS". DRAWING IS FRAMED BY GRAY AND WHITE MATTES. IN BOTTOM CENTER OF WHITE MATTE IS A METAL LABEL THAT READS "WHEN THE REDMAN SPEAKS". DRAWING IS IN A BLACK PAINTED ALUMINUM FRAME WITH A GLASS INSERT; HAS A CARDBOARD BACKING.
Subjects
ART
Historical Association
FINE ARTS
History
ACQUIRED BY WILMA WOOD, DIRECTOR OF THE GALT MUSEUM & ARCHIVES FROM 1999 TO 2002. DRAWING IS AN ORIGINAL AND ONE OF A KIND; THE ARTIST, ALLEN WELLS, STATES HE RARELY MAKES PRINTS OF HIS WORKS SO THAT EVERY BUYER KNOWS THEY HAVE SOMETHING ORIGINAL. WELLS BELIEVES WORK WAS DONE CA. 1995, BUT CANNOT BE SURE AS HE DOES NOT DATE HIS WORK SO THAT THE VIEWER CAN MAKE THEIR OWN INTERPRETATIONS. ARTIST EXPLAINS THAT TITLE OF WORK REFERS TO THE SMOKE SIGNAL IN THE BACKGROUND OF THE PICTURE, WHICH IS THE TRADITIONAL FORM OF COMMUNICATION BETWEEN NATIVE PEOPLES. WELLS IS A MEMBER OF THE BLOOD TRIBE, LIVING SOUTHWEST OF STAND OFF AND HAS DONE ART ALL HIS LIFE. HE CURRENTLY DOES ARTWORK FOR SOUTHERN MONUMENT AND FOR THE BLOOD TRIBE (CHILDREN'S SERVICES; EDUCATION). ARTIST MAKES PINS OUT OF STONE WHICH HAVE SOLD AT RODEOS AND CRAFT SHOWS THROUGHOUT THE WESTERN UNITED STATES AND CANADA. WELLS DEPICTS NATIVE CULTURE AND THE SPORT OF RODEO AS "THESE THINGS ARE THE CENTRE OF [HIS] LIFE AND [HIS] WORK SHOWS [HE] IS PROUD TO BE A NATIVE". ONE OF HIS PROUDEST ACHIEVEMENTS IS HE HAD HIS LOGO CHOSEN FOR THE 6TH WORLD INDIGENOUS PEOPLE'S CONFERENCE ON EDUCATION, HELD IN 2002 IN MORLEY, ALBERTA. HE ALSO ILLUSTRATED THE BOOK KIPAITAPIIWAHSINNOUNI: ALCOHOL & DRUG ABUSE EDUCATION PROGRAM, AND CREATED CARTOONS FOR THE BLOOD TRIBE NEWS. ARTIST DOES VARIOUS ART SHOWS BUT HAS ONLY HAD HIS WORK IN A GALLERY ONCE. SEE HARD COPY FOR FOR MORE INFO.
Catalogue Number
P20010101000
Acquisition Date
2003-07
Collection
Museum
Images
Less detail
Other Name
CPR VIADUCT
Date Range From
1980
Date Range To
2000
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P19990029017
Material Type
Artifact
Other Name
CPR VIADUCT
Date Range From
1980
Date Range To
2000
Materials
CERAMIC
No. Pieces
1
Height
9.8
Length
17.7
Width
5.9
Description
CERAMIC FIGURINE OF A SECTION OF THE HIGH LEVEL BRIDGE WITH A TRAIN GOING ACROSS IT. WRITTEN ON BOTH SIDES OF TRAIN ENGINE IS "1530". THERE ARE TREES AND BUSHES AT BOTTOM OF FIGURINE. A BANNER ON ONE SIDE OF FIGURINE READS "CPR VIADUCT LETHBRIDGE ALBERTA CANADA". ON OTHER SIDE READS "LENGTH 1 MILE 47 FT. HEIGHT 307 FT. COMPLETED JUNE 22, 1909". ON ONE END OF FIGURINE READS "SOO FLYER". BOTTOM HAS A ROUND HOLE IN IT. ENTIRE FIGURINE IS COLOURED WITH A LIGHT ORANGEY-BROWN GLAZE.
Subjects
ART
Historical Association
TRANSPORTATION
DECORATIVE ARTS
History
SOUVENIR FIGURINE. THE WORDS "SOO FLYER" ON FIGURINE REFER TO A FIRST-CLASS EXPRESS PASSENGER TRAIN WHICH OPERATED IN THE EARLY 1900S (CA. 1906-1914). ARTIFACTS PURCHASED BY DONOR AT VARIOUS ANTIQUE SHOPS, GARAGE SALES, ETC. FOR THE PURPOSE OF DONATING TO THE MUSEUM. ARTIFACTS WERE PURCHASED FROM 1999 TO 2002 WHILE DONOR WAS DIRECTOR OF THE GALT MUSEUM. SEE PREVIOUS DONATIONS.
Catalogue Number
P19990029017
Acquisition Date
2002-11
Collection
Museum
Less detail
Other Name
CAPRI SPORTS BOWL
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
BRASS
Catalogue Number
P19990029004
  1 image  
Material Type
Artifact
Other Name
CAPRI SPORTS BOWL
Date Range From
1980
Date Range To
1990
Materials
BRASS
No. Pieces
2
Height
1.0
Length
1.8
Width
1.2
Description
SMALL BRASS PIN. IMPRESSED INTO PIN IS "CAPRI SPORTS BOWL LETHBRIDGE,". "CAPRI" AND "LETHBRIDGE" ARE PAINTED BLACK AND SMALLER THAN OTHER WORDS. "SPORTS" IS PAINTED ORANGE AND HAS HORIZONTAL LINES THROUGH LOWER HALF OF LETTERS; "BOWL" IS PAINTED RED AND HAS HORIZONTAL LINES THROUGH LOWER HALF OF LETTERS. EMBOSSED ON BACK IS "BJ SALES CALGARY MADE IN TAIWAN". HAS A BRASS BACKING.
Subjects
PERSONAL SYMBOL
ADVERTISING MEDIUM
Historical Association
SPORTS
History
ARTIFACTS PURCHASED BY DONOR AT VARIOUS ANTIQUE SHOPS, GARAGE SALES, ETC. FOR THE PURPOSE OF DONATING TO THE MUSEUM. ARTIFACTS WERE PURCHASED FROM 1999 TO 2002 WHILE DONOR WAS DIRECTOR OF THE GALT MUSEUM. SEE PREVIOUS DONATIONS.
Catalogue Number
P19990029004
Acquisition Date
2002-11
Collection
Museum
Images
Less detail
Other Name
"BLIND MAN'S BLUFF"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, CANVAS, PAPER
Catalogue Number
P20020006017
  1 image  
Material Type
Artifact
Other Name
"BLIND MAN'S BLUFF"
Date Range From
1990
Date Range To
2000
Materials
WOOD, CANVAS, PAPER
No. Pieces
1
Height
3.8
Length
61.8
Width
47.7
Description
OIL ON CANVAS; NAIVE STYLE OF PAINTING. HAS A VARNISHED WOOD FRAME. PICTURES 3 CHILDREN STANDING ON TOP OF A SHORT STAIRWAY. ONE CHILD, IN A GREEN TOP AND RED SHORTS, HAS A WHITE BLINDFOLD OVER HER EYES. THE OTHER TWO ARE LOOKING ON. THE WALLS IN PAINTING ARE BLUE. NEAR BOTTOM RIGHT HAND CORNER IS ARTIST'S SIGNATURE "H FLAIG". PAINTING IS BACKED WITH BROWN PAPER; HELD ON BY PACKING TAPE AT THE BOTTOM AND MASKING TAPE ON SIDES AND TOP. ON PAPER IS A LABEL THAT READS "BLIND MAN'S BLUFF $150.00". THERE IS ALSO A WIRE FOR HANGING.
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001. *UPDATE* ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS COLLECTED BY HIS PARENTS, HELEN AND LLOYD FLAIG. IN HIS INTERVIEW, DON FLAIG SPOKE ABOUT HIS MOTHER'S, HELEN FLAIG'S, ART PRACTICE. ON HIS MOTHER’S PAINTINGS AND PRACTICE, DON FLAIG ELABORATED, “I LEARNED LATER, THAT [MY MOTHER’S LOVE OF ART] WAS BORN OUT OF HER DESIRE TO BRING ART TO HER SISTER, FERN, WHO HAD A BRAIN ANEURYSM WHEN SHE WAS ABOUT FIFTEEN YEARS OLD. [FERN] SPENT MANY YEARS IN HOSPITAL IN LABRECQUE, IN SASKATCHEWAN, BUT [MOM] NEVER GOT THERE; NEVER GOT THE PAINTINGS OUT THERE. THE ART WORK IS, IN SOME WAYS, CRUDE. THERE ARE NO SHADOWS; THE PEOPLE ARE KIND OF LUMPY; THE COLORS ARE BRIGHT, AND ALL THESE SCENES REPRESENT SOMETHING OF HER LIFE AS A YOUNG GIRL ON A FARM, IN SASKATCHEWAN, AND HOW HARD IT MUST HAVE BEEN. THERE IS A LOT OF FEELING IN EACH ONE OF HER PAINTINGS. MANY OF THEM WE’LL NEVER KNOW THE STORIES, BUT THEY’RE ALL COUCHED IN STORIES. I HAD NO IDEA EITHER, UNTIL JUST NOW, HOW PROLIFIC SHE WAS; HOW MANY PAINTINGS SHE MUST HAVE DONE. I THINK IT WAS A CATHARSIS FOR HER, BUT ALSO REPRESENTATIVE OF THEIR LIVES, GROWING UP ON A FARM IN SASKATCHEWAN—THE ISOLATION, THE COLD, THE STRIFE AMONGST THE FAMILY, THE DIFFICULTY OF HER PARENTS HOLDING A MARRIAGE TOGETHER, AND THEIR DESPERATION, WITH SEVEN KIDS, TO GET OFF THE FARM AND GET OUT OF THERE, AND MAKE SOMETHING. IT’S A HERITAGE – HER PAINTINGS, AS ARE THESE HERE. YOU JUST LOOK AT THEM AND WONDER HOW IT IS THAT AN ARTIST CAN VISUALIZE THIS, AND PUT SO MUCH FEELING INTO EACH PIECE. THE LIGHT, THE FACIAL EXPRESSION, THE SUGGESTION OF A LINE, SOMETHING SIMPLE…SOMEBODY JUST [DAUBED] THE PAINT ON THERE, GLOBS THE YELLOW OF THE TREES. THERE’S SOMETHING THERE THAT—IT’S A HERITAGE. I [HEARD IN A MOVIE] ART IS THE TRUTH THAT WE HAVE EXISTED. THESE PEOPLE EXISTED. MOM, THE LIFE THEY HAD, WILL BE FORGOTTEN, BUT IT WAS THERE. NOW, AS OUR SUCCEEDING GENERATIONS, WE HAVE THE LIFE WE HAVE BECAUSE OF WHAT THEY WENT THROUGH. THE RICHNESS OF THEIR LIFE, WE CAN NEVER REPAY IT, BUT WE CAN HOPE TO PROFIT FROM IT.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “I KNOW [MY PARENTS] WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE…I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20020006017
Acquisition Date
2002-07
Collection
Museum
Images
Less detail

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