Skip header and navigation

Refine By

   MORE

1347 records – page 1 of 68.

Other Name
"1910 MILLINERY SHOP" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
PAPER, WATERCOLOUR
Catalogue Number
P20160031004
  1 image  
Material Type
Artifact
Other Name
"1910 MILLINERY SHOP" - IRENE MCCAUGHERTY
Date
1992
Materials
PAPER, WATERCOLOUR
No. Pieces
1
Height
38
Length
56
Description
“1910 MILLINERY SHOP” PAINTING, WATERCOLOUR/INK – “WHEELERVILLE SERIES” (LADIES HAT SHOP), IRENE MCCAUGHERTY, 1992. AN UNFRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING ON COTTON PAPER. THE PAINTING DEPICTS A SHOP FRONT, DISPLAYING A MILLINERY STORE FRONT, SHOWCASING HATS ON WOMEN HAT MOUNTS AND PORTRAITS OF WOMEN IN HATS. IN THE FOREGROUND, SHOPPERS MILL IN FRONT OF THE WINDOWS. AT THE TOP OF THE PAINTING RUNS THE SHOP SIGN READING “MILLINERY SHOP”. THE PAINTING IS PRIMARILY A PINK WASH, MARKING THE INSIDE OF THE SHOP THROUGH WINDOWS. IN THE BOTTOM OF THE RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “1910 MILLINERY SHOP IRENE MCCAUGHERTY WHEELERVILLE SERIES 1992” IN BLACK INK. THE PAPER IS FACTORY CUT, WITH TWO DECKLED EDGES, AND WATER MARKED “C.M. FABRIANO – 100/100 COTTON” AT THE RIGHT EDGE. THE LEFT TOP CORNER BEARS A PARTIAL WATERMARK. THE PAPER LIES ALMOST COMPLETELY FLAT.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” OF THE IMAGE TITLED, “1910 MILLINERY SHOP,” MCCAUGHERTY EXPLAINED, “THIS [IMAGE] WAS A COMMERCIAL, BECAUSE THAT WAS WOMEN’S HATS.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031004
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"MARTIN'S PLAY AUCTION" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
PAPER, WATERCOLOUR
Catalogue Number
P20160031005
  2 images  
Material Type
Artifact
Other Name
"MARTIN'S PLAY AUCTION" - IRENE MCCAUGHERTY
Date
1990
Materials
PAPER, WATERCOLOUR
No. Pieces
1
Height
38
Length
56
Description
“MARTIN’S PLAY AUCTION” PAINTING, WATERCOLOUR/INK – “WHEELERVILLE SERIES” (BOY WITH ANIMALS AND TOYS), IRENE MCCAUGHERTY, 1990. AN UNFRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING ON COTTON PAPER. THE PAINTING DEPICTS A YARD POPULATED WITH A BOY SURROUNDED BY ANIMALS AND TOYS. IN THE BACKGROUND RUNS A WHITE FENCE, OVER WHICH THE SKY AND TWO FIGURES CAN BE SEEN. SIGNS IN THE PAINTING READ “AUCTION SALE APRIL 2”, “AUCTION SALE MARCH 1”, AND “AUCTION SALE FEBRUARY 9”. THE PAINTING IS PRIMARILY A PALE BEIGE WASH, MARKING THE YARD, AND THE UNPAINTED PAPER OF THE FENCE, WITH THE COLOUR RED IN THE BOY’S SHIRT AND MOST OF THE TOYS SURROUNDING HIM. IN THE BOTTOM RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “MARTIN’S PLAY AUCTION IRENE MCCAUGHERTY 1990 WHEELERVILLE SERIES” IN BLACK INK. THE PAPER IS FACTORY CUT, WITH TWO DECKLED EDGES, AND WATER MARKED “C.M. FABRIANO – 100/100 COTTON” AT THE RIGHT EDGE. THE LEFT EDGE BEARS PARTIAL WATERMARKS AT THE TOP AND BOTTOM CORNERS. THE PAPER IS MINIMALLY WARPED, LIFTING AT THE EDGES AND CORNERS RATHER THAN LYING TOTALLY FLAT. THE BACK OF THE PAINTING HAS AN INK DRAWING ON IT, DEPICTING A HOUSE AND THREE FIGURES, ONE ON HORSE CARRIAGE. THE DRAWING IS UNFINISHED AND UNPAINTED.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” WHEN ASKED ABOUT THE WORK TITLED, “MARTIN’S PLAY AUCTION,” MCCAUGHERTY EXPLAINED THAT HE DID NOT KNOW THE BOY THE WORK IS TITLED FOR. SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031005
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"COWBOYS RAID CHINESE CAFE 1890S" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
PAPER, WATERCOLOUR
Catalogue Number
P20160031006
  1 image  
Material Type
Artifact
Other Name
"COWBOYS RAID CHINESE CAFE 1890S" - IRENE MCCAUGHERTY
Date
1991
Materials
PAPER, WATERCOLOUR
No. Pieces
1
Height
38
Length
56
Description
“COWBOYS RAID CHINESE CAFÉ 1890’S” PAINTING, WATERCOLOUR/INK – “WHEELERVILLE SERIES” (COWBOYS RAIDING), IRENE MCCAUGHERTY, 1991. AN UNFRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING ON COTTON PAPER. THE PAINTING DEPICTS THE INTERIOR OF A CAFÉ, FOCUSING ON THE FIGURES IN THE BUILDING. CHINESE CAFÉ WORKERS WEAR WHITE AND BLACK, LEAVING THE BUILDING AND TRYING TO ESCAPE THE COWBOYS, DRESSED IN COLOUR, WHO ARE DESTROYING THE FURNITURE AND WINDOWS, AND CUTTING OFF THE HAIR OF THE CHINESE CAFÉ WORKERS. THE PAINTING IS PRIMARILY A PALE YELLOW WASH, MARKING THE FLOOR, AND A PALE BLUE WASH, MARKING THE WALL AND WINDOWS. IN THE BOTTOM RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “COWBOYS RAID CHINESE CAFÉ 1890’S IRENE MCCAUGHERTY WHEELERVILLE SERIES 1991” IN BLACK INK. THE PAPER IS FACTORY CUT, WITH TWO DECKLE EDGES, AND WATER MARKED “C.M. FABRIANO – 100/100 COTTON” AT THE RIGHT EDGE, NEAR THE TOP RIGHT CORNER. THE LEFT EDGE BEARS PARTIAL WATERMARKS AT THE TOP AND BOTTOM CORNERS. THE PAPER IS SLIGHTLY WARPED, LIFTING AT EDGES AND CORNERS RATHER THAN LYING FLAT.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” THE SUBJECT MATTER OF THIS WORK COULD BE ALLUDING TO A REAL EVENT, WHICH TOOK PLACE IN LETHBRIDGE ON CHRISTMAS DAY 1907. ACCORDING TO THE LOCAL HISTORY BOOK, “LETHBRIDGE: A CENTENNIAL HISTORY,” BY ALEX JOHNSTON AND ANDY DEN OTTER (PUBLISHED 1983), A PATRON TO THE COLUMBIA RESTAURANT NAMED HARRY SMITH “QUARRELED WITH A CHINESE WAITER… THE WAITER, GREATLY PROVOKED, ATTACKED SMITH WITH A HAMMER. ALTHOUGH POLICE MANAGED TO END THE MATTER BEFORE ANYONE WAS HURT, THE RUMOR THAT SMITH HAD BEEN KILLED SPREAD LIKE WILDFIRE. A MOB DESCENDED ON THE RESTAURANT AND WRECKED IT. THE RIOTERS WERE ABOUT TO VANDALIZE THE ADJOINING PROPERTY WHEN MAYOR W. S. GALBRAITH ARRIVED AND, WITH THE AID OF MOUNTED POLICE, DISPERSED THEM.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031006
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"SHOPPERS" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
PAPER, WATERCOLOUR
Catalogue Number
P20160031007
  1 image  
Material Type
Artifact
Other Name
"SHOPPERS" - IRENE MCCAUGHERTY
Date
1996
Materials
PAPER, WATERCOLOUR
No. Pieces
1
Height
38
Length
56
Description
“SHOPPERS” PAINTING, WATERCOLOUR/INK – INTERIOR SCENE (FABRIC STORE), DR. IRENE MCCAUGHERTY, 1996. AN UNFRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING AND ACRYLIC HIGHLIGHT, ON COTTON PAPER. THE PAINTING DEPICTS THE INTERIOR OF A FABRIC SHOP, SHOWING SHELVES OF ROLLED FABRIC AND THREE QUILTS HUNG ON THE BACK WALL. HUTTERITE WOMEN SHOP FOR AMONG THE FABRIC ROLLS, WHILE TWO MEN WAIT AT THE FRONT OF THE SHOP. OTHER FIGURES INCLUDE CASHIERS AND A WOMEN IN A PINK DRESS AND HIGH HEELS. SIGNS IN THE PAINTING READ “RODEO QUILT CONTEST”, “BE HAPPY WHILE YOU WORK”, “QUILT CONTEST”, “ODDS + ENDS”, “BARGAINS”, “ELASTIC”, “SCISSORS”, “NEEDLES”, “THREAD”, “THIMBLES”, “TAPE”, “PATTERNS”, “CASH REGISTER”, AND “SMILES ARE FREE”. THE PAINTING IS PRIMARILY A YELLOW WASH MARKING THE WALL, AND AN ORANGE-BROWN WASH MARKING THE FLOOR AND DRAWERS. MOST OF THE COLOUR IN THE PIECE IS FOUND IN THE ROLLS OF FABRIC IN THE MIDDLE OF THE PAINTING. IN THE BOTTOM RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “SHOPPERS DR. IRENE MCCAUGHERTY 1996” IN BLACK INK. THE PAPER IS FACTORY CUT, WITH TWO DECKLE EDGES, AND PARTIALLY WATER MARKED “FABRIANO – 100/100 COTTON” AT THE RIGHT SIDE CORNER. THE PAPER LIES ALMOST COMPLETELY FLAT.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031007
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"AUNT DIANA'S QUILTING PARTY" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
PAPER, WATERCOLOUR
Catalogue Number
P20160031008
  1 image  
Material Type
Artifact
Other Name
"AUNT DIANA'S QUILTING PARTY" - IRENE MCCAUGHERTY
Date
1992
Materials
PAPER, WATERCOLOUR
No. Pieces
1
Height
38
Length
56
Description
“AUNT DIANA’S QUILTING PARTY” PAINTING, WATERCOLOUR/INK – “WHEELERVILLE SERIES” (QUILTING PARTY), IRENE MCCAUGHERTY, 1992. AN UNFRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING, ON COTTON PAPER. THE PAINTING DEPICTS THE INTERIOR OF A HOME, SHOWING A RED AND WHITE QUILT SPREAD OVER CHAIRS AND WOMEN WORKING WITH AND AROUND IT. SOME WOMEN WORK ON THE QUILT WHILE OTHERS PLAY PIANO AND SING, POUR TEA, AND EAT AND DRINK AROUND THE ROOM. THE WOMEN SING “IT WAS FROM AUNT DIANA’S QUILTING PARTY I WAS SEEING NELLIE HOME”. THE PAINTING IS PRIMARILY A YELLOW WASH MARKING THE FLOOR OF THE ROOM, A BLUE WASH MARKING THE WALL OF THE ROOM, AND THE RED AND WHITE QUILT. IN THE BOTTOM RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “AUNT DIANA’S QUILTING PARTY IRENE MCCAUGHERTY WHEELERVILLE SERIES 1992” IN PENCIL. THE PAPER IS FACTORY CUT, WITH TWO DECKLE EDGES, AND WATER MARKED “C.M. FABRIANO – 100/100 COTTON” AT THE RIGHT EDGE. THE LEFT EDGE BEARS PARTIAL WATERMARKS AT THE BOTTOM CORNER. THE PAPER LIES ALMOST COMPLETELY FLAT.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” WHILE LOOKING AT THIS WORK, THE PAINTER’S SON EXPLAINED, “NOW MANY THINGS THAT SHE DID IN HER WORK WERE OUT OF [PROPORTION]. I THINK SHE WOULD CALL THEM A RELATIVE SIZE…THIS ONE HERE (“AUNT DIANA’S QUILTING PARTY”) THAT YOU’VE GOT WITH THE QUILTING; THAT’S ONE MIGHTY BIG BED. I CAN REMEMBER THEM MAKING QUILTS [AND] SEWING THEM TOGETHER. BACK IN HER TIME, YOU DIDN’T WASTE ANYTHING… THIS ONE [REFLECTS MY MOTHER’S OWN LIFE, BECAUSE] THAT’S SOMETHING SHE WOULD HAVE BEEN INVOLVED IN. EVERYBODY MADE QUILTS. THAT’S WHAT YOU HAD ON YOUR BED. YOU TOOK PATCHES AND SEWED THEM TOGETHER.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031008
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
FELT, COTTON
Catalogue Number
P20170023004
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
FELT, COTTON
No. Pieces
1
Length
22.6
Width
19
Description
BLACK FELT PATCH WITH RED HORSESHOE AT TOP, GOLD BISON HED IN CENTER, AND GOLD BANNER AT BASE; WHITE TEXT ON HORSESHOE READS “CALGARY”, GOLD TEXT BELOW BISON READS “GINGER ALE”, RED TEXT ON BANNER READS “LETHBRIDGE HOTEL” AND BLACK TEXT ON BANNER READS “LETHBRIDGE”. BACK OF PATCH HAS WHITE BACKING THAT IS DETACHING; BACKING EXTERIOR IS STAINED WITH BLACK MARKER AND BACKING INTERIOR IS STAINED FROM ADHESIVE. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
COMMEMORATIVE
History
ON JULY 21, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLENN AND JOANNE ALLEN REGARDING THEIR DONATION OF RCMP AND LETHBRIDGE MEMORABILIA. GLENN ALLEN WAS RAISED IN LETHBRIDGE, AND COLLECTED THE OBJECTS AS A CHILD IN LETHBRIDGE. ON THE PATCH, ALLEN RECALLED, “THIS IS THE CREST FOR THE LETHBRIDGE HOTEL. MY UNCLE TED [TED FISK] WHEN HE WAS YOUNG…WORKED FOR THE LETHBRIDGE HOTEL, AND HIS JOB WAS [HE DID ALL SORTS OF ODD-JOBS] TO GO WITH A CART AND A HORSE, OR LATER AN AUTOMOBILE, TO THE STATION TO PICK UP ARRIVING GUESTS, TAKE THEM FROM THERE WITH THEIR BAGS OVER TO THE HOTEL, GET THEM IN THERE, TAKE THEIR BAGS UP TO THE HOTEL. “ “THE STREETCARS CAME ALONG BY GALT GARDENS, SO [THE HOTEL] WAS DIRECTLY TO THE SOUTH OF GALT GARDENS…[IT WAS THE] GARDEN HOTEL.” “HE WAS A ROOM CLERK, UNTIL HE RETIRED. IN THOSE DAYS, HE WORKED 7 DAYS A WEEK, NO TIME OFF AT ALL, AND HE WORKED A 12 HOUR SHIFT. THEY LIVED IN NORTH LETHBRIDGE, SO THEY WALKED ACROSS THAT BRIDGE THAT WENT ACROSS THE TRACKS. HE WOULD HAVE TO DO THAT AT NIGHT BECAUSE, UNLESS HE WAS ON DAY SHIFT.” “I JUST KNOW THAT TED HAD IT, AND IT WAS GIVEN TO ME.” JOANNE ALLEN ADDED, “HE STARTED [AT THE HOTEL], AND THEN WORKED THERE UNTIL HE RETIRED IN HIS ‘60S.” ALLEN ELABORATED ON HIS FAMILY’S HISTORY IN LETHBRIDGE, NOTING, “MY MOTHER’S FAMILY CAME TO LETHBRIDGE IN 1923, AND SHE WAS ABOUT 12 AT THE TIME. SHE DIDN’T GO TO SCHOOL ANY FURTHER AT THAT POINT IN TIME, AND SHE WAS HIRED ON AS A HOUSE GIRL FOR THE STOLZ FAMILY.” “MY DAD’S NAME WAS TOM, THOMAS SPENCE ALLEN, AND MY MOTHER WAS DOROTHY EMMA SCHIELS. MY DAD’S FAMILY - HIS FATHER AND, A FEW YEARS LATER MY DAD AND HIS MOTHER - CAME TO LETHBRIDGE IN 1910, AND THEY SETTLED IN NORTH LETHBRIDGE, AT 707 12A ST. NORTH. THERE WERE THREE BOYS AND ONE GIRL. THEY ALL WENT THROUGH HIGH SCHOOL AT GALBRAITH HIGH SCHOOL, AND MY DAD WORKED FOR THE RAILWAYS. HE STARTED AS A MESSENGER…HE WAS 15 YEARS OF AGE. HE PROGRESSED IN THE FREIGHT CPR BUSINESS, AND BECAME A FREIGHT INSPECTOR IN LETHBRIDGE, AND THEN, IN 1948, WAS TRANSFERRED TO CALGARY. MY MOTHER WAS ALWAYS A HOUSEWIFE. THEY LIVED ON 3RD AVENUE NORTH, BY THE LEALTA THEATRE. THEY HAD JUST ONE CHILD. I GREW UP [IN THAT HOUSE] UNTIL I WAS ABOUT AGE FIVE. AT THAT TIME, THE END OF THE WAR WAS COMING, AND SOLDIERS WERE RETURNING. RENTAL HOUSING BECAME ALMOST NOT AVAILABLE. ANYBODY WHO WAS RENTING AT THAT TIME, IF YOU HADN’T BEEN IN THE FORCES, YOU WERE REQUIRED BY ORDINANCE TO FIND ANOTHER PLACE. IT WAS A HOUSE WHICH WE HAD TO GIVE UP. WE’D BEEN THERE SINCE I WAS BORN. THEN WE MOVED OVER TO 12TH STREET C, THE 500 BLOCK. WE LIVED TEMPORARILY THERE, AND THEN THAT HOUSE WAS SECONDED. WE WERE ONLY THERE MAYBE 6 MONTHS, AND THEN WE MOVED INTO AN ATTIC SPACE AT 507 12TH STREET A NORTH, AND LIVED IN THE 2 ROOMS IN THE ATTIC - NO INSULATION, AND VERY COLD IN THE WINTER, AND HOT IN THE SUMMER.” “[MY FATHER] GOT A PROMOTION [IN 1948]. HE GOT A PROMOTION TO CALGARY…A BETTER JOB.” “MY MOTHER AND DAD LIVED IN LETHBRIDGE, GREW UP IN LETHBRIDGE. MY MOTHER WAS THE COLLECTOR IN THE FAMILY. WHEN I WAS MARRIED [IN 1962], ALL OF THESE THINGS SHE GAVE ME TO JUST TAKE ALONG, BECAUSE THEY HAD BEEN GIVEN TO ME. THEY ARE JUST LITTLE ITEMS THAT WE JUST DON’T KNOW WHETHER THEY HAVE ANY VALUE, AND RATHER THAN HAVE THEM JUST GO TO LAND FILL, WE’D LIKE YOU TO HAVE A LOOK AT THEM.” “TODAY IS OUR FIFTY-FIFTH WEDDING ANNIVERSARY, AND WE’RE RETURNING TO LETHBRIDGE BECAUSE WE’VE HAD THESE THINGS IN OUR POSSESSION FOREVER, AND WE WANT TO SEE IF THEY HAVE ANY VALUE TO THE MUSEUM. THEY ARE RELICS THAT WE’VE [GATHERED] FROM PAST YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170023001-GA.
Catalogue Number
P20170023004
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOL, NYLON, COTTON
Catalogue Number
P20170027000
  2 images  
Material Type
Artifact
Date
1971
Materials
WOOL, NYLON, COTTON
No. Pieces
1
Length
98
Width
59
Description
RED WOOL COAT WITH BROWN EDGING AT CUFFS AND ON TWO FRONT POCKETS; COAT HAS RED ZIPPER RUNNING DOWN FRONT; COAT HAS BROWN STITCHED DETAILING ON FRONT WITH A FLOWER WITH STEM ON BOTH SIDES OF ZIPPER, AND SINGLE BROWN HUMMINGBIRDS ON BOTH FRONT POCKETS. POCKETS HAVE WHITE COTTON LINING INSIDE. COAT HOOD HAS BLACK-TIPPED, BROWN FUR TRIM. INSIDE COAT SLEEVES IS WHITE ELASTIC LINING. INSIDE COAT IS RED LINING. BACK OF JACKET HAS THREE PANELS WITH BROWN STITCHED DETAILING, ON FIRST AND THIRD PANELS ARE SINGLE BEAVERS AND ON SECOND PANEL IS TREE STUMP. SEWN INSIDE COAT ON BACK IS BLACK TAG WITH YELLOW EBROIDERED TEXT “ORIGINAL CREE INDIAN GARMENT HANDCRAFTED BY THE BEAVER LAKE INDIAN BAND OF ALBERTA, AMISK”, WHITE TAG WITH BLACK BILUNGUAL ENGLISH/FRENCH TEXT “BEAVER LAKE FASHIONS & SPORTSWEAR, BOX 1207 LAC LA BICHE, ALBERTA, T0A 2C0, STYLE 2053, SIZE L, SHELL 100% PRIME NEW ZEALAND PURE VIRGIN WOOL, LINING, FACE: NYLON, QUILL: NEW FORTEL, MADE IN CANADA, DRY CLEAN ONLY”, AND WHITE TAG WITH BLACK TEXT UNDER FIRST WHITE TAG “NOT TO BE REMOVED UNTIL SOLD BY RETAIL AND DELIVERED, THIS LABEL IS AFFIXED IN COMPLIANCE WITH THE REGULATIONS UNDER THE PUBLIC HEALTH ACT OF CANADA, THIS ARTICLE CONTAINS NEW MATERIALS ONLY”. COAT HAS FRAYING THREADS INSIDE SLEEVES, INSIDE LOWER TRIM, AND INSIDE AT COLLAR; ZIPPER PULL HAS PAINT CHIPPED SHOWING SILVER METAL UNDER RED; COAT HAS LINING SEPARATED FROM OUTER SHELL ON THE INSIDE; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-OUTERWEAR
INDIGENOUS
Historical Association
PERSONAL CARE
History
ON AUGUST 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RAYMOND AND INGRID SPEAKER REGARDING THEIR DONATION OF A CREE-MADE WOOL COAT. SPEAKER WAS RAISED IN SOUTHERN ALBERTA AND WAS ELECTED A MINISTER IN THE ALBERTA GOVERNMENT IN 1963 WITH THE SOCIAL CREDIT PARTY. SPEAKER WAS INVOLVED WITH THE FORMATION OF THE WHITE PAPER ON HUMAN RESOURCE DEVELOPMENT IN 1967. RAYMOND SPEAKER PROVIDED BACKGROUND ON THE COAT IN HIS POSSESSION, NOTING, “ONE OF [THE] PROJECTS [I WORKED ON AS A MINISTER] WAS TO HAVE A NATIVE PROJECT THAT PRODUCED THESE JACKETS…AFTER THAT, I BOUGHT ONE FOR MY WIFE, AND ONE FOR MYSELF FOR, I THINK, $100.00 EACH [IN 1971].” “I‘D HAVE TO SAY WE DIDN’T [WEAR THE COATS ANNUALLY], AND NOT BECAUSE OF ANY REASON. JUST BECAUSE YOU HAD ONE JACKET THAT YOU USUALLY PICKED UP OUT OF THE CLOSET AND, ON THE FARM, YOU HAVE THIS ONE THAT YOU GO OUTSIDE, AND MUCK AROUND IN, AND GET DIRTY. IF THEY HAD BEEN HANGING IN THE RIGHT PLACE [WE MIGHT HAVE WORN THEM MORE]…WE KEPT THEM IN THE CAR” INGRID STATED, “THEY ARE VERY WARM. YOU ALMOST NEED 20- 30 BELOW WEATHER, SO WHEN WE WERE TRAVELING, MANY A TIME, WE TOOK THEM WITH US, KNOWING THEY WOULD SEE US THROUGH VERY COLD WEATHER…THEY ARE ALSO A BIT HEAVY, SO FOR SHOPPING YOU’D PROBABLY HAVE SOMETHING ELSE WITH YOU. THEY’RE VERY WARM.” “WE WORE THEM [TO GREY CUP GAMES] AND JUST ABOUT FROZE. WHEN IT WAS BITTERLY COLD, AT THAT GREY CUP GAME, WE WORE THEM. WE WORE THEM TO A HOCKEY GAME IN CALGARY. WHENEVER YOU WERE TOUGH TRAVELING, KNOWING THERE WAS A TWO HOUR TRIP TO THE FARM, YOU ALWAYS FELT SAFE WITH THIS.” RAYMOND ADDED, “A FELLOW BY THE NAME OF NEIL GILLIETTE BROUGHT THEM TO MY OFFICE IN EDMONTON, WHEN I WAS THE MINISTER, SO I PAID HIM THE CHEQUE BECAUSE I HAD SEEN THEM WHEN I HAD TRAVELED INTO THE NORTH. I HAD SEEN THEM AT THAT TIME, AND I SAID, “OH, MAN, I’D SURE LIKE TO HAVE THOSE COATS.”…WE DIDN’T BUY THEM DIRECTLY…FROM THE FACTORY.” “THE REASON I HAD IT…WAS THAT I FELT THAT, IF SOMEBODY CHALLENGED ME ABOUT SOME OF THE NATIVE PROJECTS WE DID, I COULD SAY, “LOOK, HERE’S A PROJECT THAT HAPPENED, THAT WORKED. WE DID IT. WE TRIED TO MEET ALL THE OBJECTIVES OF SELF-DETERMINATION, SELF-MANAGEMENT, FULLY-FUNDED PROJECT THAT SHOULD HAVE WORKED. IT WORKED FOR A WHILE, BUT, ALL-OF-A-SUDDEN, IT DIDN’T.” RAYMOND SPEAKER ELABORATED ON HIS TIME AS AN ALBERTA GOVERNMENT MINISTER AND THE PROJECTS THAT LED TO THE CREATION OF THE COAT, “I WAS ASSOCIATED WITH PRESTON MANNING, WHO WAS THE SON OF THE PREMIER OF THE PROVINCE. AT THE TIME, HE AND I WERE AT UNIVERSITY TOGETHER, AND TALKED A LOT ABOUT GOVERNMENT AND WHAT FORMATS GOVERNMENT SHOULD TAKE, NOT ONLY PROVINCIALLY BUT FEDERALLY. IN 1967, BETWEEN PRESTON, HIS DAD, AND MYSELF, AND ONE OTHER RESEARCHER, ERIC SCHMIDT, WE DECIDED THAT THE SOCIAL CREDIT GOVERNMENT SHOULD HAVE A NEW OBJECTIVE, AND BE DEFINED IN A BETTER AND CLEARER WAY THAN IT WAS. [THE PARTY] NEEDED TO BE RE-VITALIZED IN TERMS OF ITS OBJECTIVE. WORKING TOGETHER WITH THESE FOUR PARTICIPANTS, WE CAME UP WITH A WHITE PAPER, CALLED THE WHITE PAPER ON HUMAN RESOURCE DEVELOPMENT, IN MARCH OF 1967, AND PRESENTED IT TO THE ALBERTA LEGISLATURE. THERE WAS ECONOMIC GROWTH IN THE PROVINCE. AT THE SAME TIME, THE PEOPLE OF THE PROVINCE NEEDED A CERTAIN AMOUNT OF ATTENTION IN TERMS OF SOCIAL GROWTH, AND SO WE SAID TO OURSELVES, THERE MUST BE SOME WAY OF INTEGRATING ECONOMIC GROWTH WITH SOCIAL DEVELOPMENT. THE WHITE PAPER DOES THAT. IT TALKS ABOUT IF YOU CAN GROW THE ECONOMY OF THE PROVINCE, YOU SHOULD ALSO PARALLEL THAT WITH SOCIAL DEVELOPMENT GROWTH. IN THE WHITE PAPER, WE SET OUT THAT OBJECTIVE, IN 1967. AFTER THE LEGISLATURE ACCEPTED THE PAPER, THEN WE HAD TO DEVELOP IT. I WAS APPOINTED, SHORTLY AFTER THAT, THE MINISTER OF SOCIAL DEVELOPMENT, AND ONE OF MY RESPONSIBILITIES WAS TO DEVELOP THE CONCEPTS OF THE WHITE PAPER. IN ORDER TO BRING TOGETHER ECONOMIC DEVELOPMENT AND SOCIAL DEVELOPMENT, WE SET UP A BODY CALLED THE HUMAN RESOURCE DEVELOPMENT AUTHORITY, AND IT HAD HUGE POWERS TO CHANGE THE FUNCTIONS OF THE DIFFERENT DEPARTMENTS OF GOVERNMENT, REORGANIZE THE BUDGETING OF THE GOVERNMENT, AS A WHOLE, TO FOCUS ON THIS NEW OBJECTIVE. I WAS THE CHAIRMAN OF THAT HUMAN RESOURCE DEVELOPMENT AUTHORITY.” “ONE OF THE PROGRAMS THAT WE ESTABLISHED…WAS TO WORK AND COOPERATE WITH THE FEDERAL GOVERNMENT. THE FEDERAL GOVERNMENT HAD SET UP WHAT WAS CALLED SPECIAL AREAS ACROSS CANADA THAT THEY FELT NEEDED EXTRA FOCUS, FOR SOCIAL AND ECONOMIC DEVELOPMENT. ALBERTA, BECAUSE IT HAD ECONOMIC GROWTH AT THE TIME, WAS JUST ABOUT LEFT OUT OF THE FORMULA. THE BLOOD RESERVE WAS A BENEFACTOR OF THAT SPECIAL AREAS.” “THE OTHER PROGRAM WAS SOCIAL AND ECONOMIC DEVELOPMENT IN NORTHERN ALBERTA. THERE [WERE] A LOT OF METIS SETTLEMENTS, ABORIGINAL SETTLEMENTS – ALSO SOME NEW HOMESTEAD SETTLEMENTS – THAT NEEDED SPECIAL ATTENTION. WHAT I DID, AS THE CHAIRMAN OF THE HUMAN RESOURCE DEVELOPMENT AUTHORITY, ESTABLISHED COMMUNITY DEVELOPMENT OFFICERS, TO GO INTO THESE DIFFERENT AREAS. ONE OF THESE AREAS THAT HAD A COMMUNITY DEVELOPMENT OFFICER WAS THE COMMUNITY OF SLAVE LAKE…THESE COMMUNITY DEVELOPMENT OFFICERS WERE TO TRY AND FOCUS THIS SOCIAL AND ECONOMIC DEVELOPMENT OF THE WHITE PAPER THAT WE HAD PRESENTED.” “I HAD HEARD THAT THE [FEDERAL] MINISTER, THE HONORABLE MR. MARCHAND, MIGHT BE OPEN TO A LITTLE SPECIAL AREA IN NORTHERN ALBERTA. WE HALF-SUGGESTED TO HIM, VERBALLY, ON THE PHONE, “WHAT DO YOU THINK ABOUT SLAVE LAKE?” HE THOUGHT IT WAS NOT A BAD IDEA. I SAID TO MY STAFF IN SLAVE LAKE, “LET’S PUT TOGETHER A PROPOSAL, AND GO TO OTTAWA, AND PRESENT IT TO MR. MARCHAND.” WE PUT THE PROPOSAL TOGETHER, BUT WE ALSO FOUND OUT THAT [MANCHARD’S] DEPUTY MINISTER…WAS ANTI-ALBERTA. HE’D WORKED IN ALBERTA; HE DIDN’T LIKE ALBERTA VERY MUCH, AND HE WASN’T IN FAVOR OF ANY SPECIAL AREA FOR THE NORTHERN PART OF OUR PROVINCE. I THOUGHT WE’VE GOT TO GET AROUND [HIM]…HAVE A MEETING WITH THE MINISTER, WITHOUT THE DEPUTY MINISTER. I ARRANGED FOR THE MEETING AT 9 O’CLOCK IN OTTAWA. I GOT ON THE PLANE AT MIDNIGHT, FLEW DOWN [TO OTTAWA] WITH TWO OF MY STAFF, WALKED OFF THE AIRPLANE, [AND] DRAGGED ME INTO HIS OFFICE. I SAID TO HIM, "WE’RE HERE. WE WANT TO TALK ABOUT A SPECIAL AREA, ESPECIALLY SLAVE LAKE. WOULD YOU BE INTERESTED?” “[HE SAID] “OH, RAY, I WOULD LOVE TO DO THAT.” I SAID, “IF WE HAD A PROPOSAL, WOULD YOU ACCEPT IT, AND COULD WE MOVE ON IT, AND WOULD YOU BE BEHIND IT?” [MANCHARD SAID] “RAY, I’D ENDORSE IT RIGHT NOW, IF YOU HAD A PROPOSAL.” I OPENED MY BRIEFCASE, AND PUT IT ON THE TABLE. I SAID, “HERE’S THE FIRST ONE.” IT WAS FOR $4,000,000, SO THEN WE STARTED COMMUNITY DEVELOPMENT, SOCIAL DEVELOPMENT, ECONOMIC DEVELOPMENT IN THE SLAVE LAKE AREA, WITH THIS $4,000,000 PROJECT. ONE OF THE ITEMS WAS METIS/ABORIGINAL…ASSISTING THEM IN DEVELOPING A BUSINESS CLIMATE TOWARD SELF-SUFFICIENCY.” “WE WERE MOST LIKELY ONE OF THE FIRST PROJECTS THAT WERE IMPLEMENTED IN CANADA. WE HAD THE AUTHORITY TO SPEND THE MONEY AS WE SAW FIT. THERE WAS VERY LITTLE INTERVENTION FROM THE FEDERAL GOVERNMENT. THEY LET US DO WHAT WE WANTED TO DO, SO ONE OF THE RESULTS OF THAT WAS THIS MANUFACTURING OF JACKETS BY ABORIGINAL LADIES.” “THE OTHER PART OF [THIS PROGRAM]…THERE WAS A SPECIAL AREA HERE IN THE SOUTHERN PART OF THE PROVINCE. THE OTHER PROJECT WE PUT TOGETHER WITH JEAN CHRETIEN WAS A PROJECT ON THE BLOOD RESERVE. WE SET UP KAINAI INDUSTRIES. THIS WAS THE BUILDING OF HOMES, AND WE BUILT A WHOLE BUNCH OF HOMES. WE HAD TRUDEAU, THE OLDER FATHER, COME OUT AND CUT THE RIBBON, AND WE BUILT THE FACTORY. THE FEDERAL [GOVERNMENT PUT IN] ONLY ABOUT $100,000 INTO IT, BUT THE FEDERAL GOVERNMENT BUILT THE FACTORY. THEY PUT A SUM OF MONEY IN THE BANK TO OPERATE IT, AND DID ON-SITE TRAINING FOR THE NATIVE PEOPLE TO RUN THE THING. WE HAD THE FOX BROTHERS RUN IT TO BEGIN WITH…THAT WAS ONE OF THE OTHER SPIN-OFFS OF THIS SPECIAL AREA OF CANADA THAT I WAS INVOLVED IN. IT WAS ANOTHER WAY THAT WE FELT WE COULD DO SOCIAL DEVELOPMENT WITH THE ABORIGINAL PEOPLE.” “THERE WAS A MARKET PLACE FOR THE JACKETS. THERE WAS A MARKET PLACE FOR PRE-BUILT HOMES. KAINAI INDUSTRIES SOLD THOUSANDS OF HOMES IN SOUTHERN ALBERTA. THEY WERE GOOD CONSTRUCTION, GOOD QUALITY HOMES.” “THE FIRST ASSIGNMENT, WHEN I GOT ELECTED IN 1963, [WAS] I MET WITH MR. MANNING, AND HE SAID, ‘I NEED HELP – SOMEBODY TO DO NORTHERN DEVELOPMENT – HELP WITH THE METIS SETTLEMENTS, WITH THE ABORIGINAL SETTLEMENTS, AND WITH THE NEW FARMERS. THERE’S A WHOLE AREA. WE’VE PUT HOMESTEADERS INTO NEW AREAS, AND THEY’RE ALL HAVING TROUBLE. WHAT I’D LIKE YOU TO DO IS GO OUT AND SEE WHAT YOU CAN DO –GO OUT AND VISIT THESE COMMUNITIES.”” “HERE WAS A FARM KID – NEVER HAD THAT EXPERIENCE BEFORE – HAD NO IDEA WHAT WAS NORTH OF EDMONTON. I THOUGHT IT WAS ALL BUSH…ALL OF A SUDDEN, I WAS MEETING ALL THESE GREAT PEOPLE THAT HAD NEEDS, AND WERE TRYING TO ACHIEVE, IN VERY DIFFICULT CIRCUMSTANCES. BECAUSE I…HAD MET PEOPLE ON ALL OF THE METIS SETTLEMENTS, GOT TO KNOW PEOPLE BECAUSE OF THAT, MET A BUNCH OF ABORIGINAL PEOPLE AND GOT TO KNOW THE COMMUNITIES OF THE NORTH, THEN WHEN I WAS APPOINTED MINISTER OF SOCIAL DEVELOPMENT, AND THE CHAIRMAN OF THE HUMAN RESOURCE DEVELOPMENT AUTHORITY, I HAD BACKGROUND. I AUTOMATICALLY FELL INTO IT. RATHER THAN DOING SOUTHERN ALBERTA DEVELOPMENT, I WAS DOING NORTHERN ALBERTA DEVELOPMENT, AND ENJOYED IT VERY MUCH. IT WAS A GREAT EXPERIENCE, WONDERFUL PEOPLE…WITH GREAT AMBITIONS, AND THEY NEEDED OUR HELP. THAT’S WHY I GOT INVOLVED IN IT.” WHEN ASKED ABOUT THE MOTIVATION FOR DONATING THE COAT, RAYMOND SPEAKER STATED, “WE’RE MAKING A MAJOR MOVE FROM OUR HOMESTEAD FARM…[IT] WAS HOMESTEADED BY MY GRANDFATHER IN 1908…MY FATHER TOOK OVER THE FARM IN 1925, AND I TOOK OVER THE FARM IN 1975. NOW WE’RE MOVING TO LETHBRIDGE – BUILDING A HOME IN CHINOOK HEIGHTS IN LETHBRIDGE, SO WE’RE TRYING TO DEAL WITH ISSUES AND STORAGE THINGS THAT WE HAVE ON THE FARM, THAT HAVE ACCUMULATED OVER THE LAST 50 SOME YEARS. THE JACKETS ARE PART OF THAT ACCUMULATION.” “WE’RE AT THE STAGE WHERE WE’VE GOT TO CUT SOME TIES. WE’RE SAYING, “HOW DO YOU LEAVE THE FARM? AND HERITAGE? AND WALK AWAY FROM IT. YOUR KIDS ARE BUSY IN CALGARY; BUSY IN GRANDE PRAIRIE. WHAT HAPPENS TO IT?” WE’RE AT THAT AGE WHEN YOU’VE GOT TO START CUTTING THE TIES, AND THE HISTORICAL THINGS….I’VE LOOKED OVER [AND] I BROUGHT HOME ABOUT 40 OR 50 BOXES OF THINGS, DURING THIS PERIOD OF TIME, THAT WE STORED IN OUR HOME…AND I’M DOWN TO 5 BOXES. I BURNED THE REST, AND I LOOKED AT IT YESTERDAY, AND I THOUGHT THAT, EVERY TIME I LOOK AT A PIECE OF PAPER, OR LOOK AT SOMETHING, EVERY ONE’S GOT A STORY – EVERY PIECE OF PAPER, OF THINGS THAT HAPPENED, AND PEOPLE THAT DID IT. WE THINK NOW, I GUESS IT’S OVER – IT’S FORGOTTEN – WHO CARES? IT’S NICE THAT YOU CARE, SO THAT’S WHY WE’RE HERE. SOMEBODY CARES A LITTLE BIT ABOUT IT.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20170027000-GA.
Catalogue Number
P20170027000
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
RAWHIDE DRUM
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
HIDE, WOOD, LEATHER
Catalogue Number
P20170018003
  2 images  
Material Type
Artifact
Other Name
RAWHIDE DRUM
Date Range From
1950
Date Range To
1960
Materials
HIDE, WOOD, LEATHER
No. Pieces
2
Height
9
Diameter
34
Description
A. RAWHIDE DRUM WITH HIDE FITTED OVER ROUND WOODEN FORM; HIDE HAS LEATHER LOOPED ABOVE WOODEN FORM, WITH LEATHER STRAPS TIED INTO CENTER OF DRUM WITH CLOTH AND WIRE AT ENDS OF LEATHER STRAPS. DRUM HAS METAL NAILS THROUGH HIDE AND WOODEN FORM. DRUM HAS FOUR PUNCHED HOLES IN HIDE ALONG EDGE AT SURFACE, AND FOUR ADDITIONAL HOLES ON OPPOSITE SIDE OF DRUM. INSIDE OF DRUM HAS TWO PUNCHED HOLES AT BASE OF WOODEN FORM. HIDE IS WORN AND CRACKED ALONG WOODEN FORM; HIDE IS SEPARATING FROM LEATHER CORD ALONG WOODEN FORM; LEATHER IS STAINED AND EMBRITTLED; WOODEN FORM IS CRACKED AND SPLITTING. CLOTH IN CENTER OF DRUM HOLDING LEATHER STRANDS IS DISCOLOURED AND FRAYING. HIDE IS DISCOLOURED AND STAINED ON EDGES, SURFACE, AND INSIDE OF DRUM. OVERALL FAIR CONDITION. B. WOODEN DRUM STICK, 1.2CM WIDE X 37CM LONG. LIGHT WOOD WITH WIDER HANDLE END THAT TAPERS; WOOD VARNISHED DARKER. TAPERED END IS CHIPPED AND CRACKED. VARNISH IS PEELED AND FADED; WOOD IS CRACKED DOWN TOP END. OVERALL GOOD CONDITION.
Subjects
MUSICAL T&E
INDIGENOUS
Historical Association
LEISURE
ETHNOGRAPHIC
History
ON MAY 3, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GARY HAMILTON REGARDING HIS DONATION OF OBJECTS FROM HIS CHILDHOOD. HAMILTON WAS RAISED IN MAGRATH, ALBERTA, AND RECALLS THE OBJECTS FROM HIS CHILDHOOD IN SOUTHERN ALBERTA. ON THE RAWHIDE DRUM, HAMILTON RECALLED, “IT WAS GIVEN TO MY DAD AND I ENDED UP WITH IT. FROM WHAT I REMEMBER IT’S…AT LEAST SIXTY, SIXTY-FIVE YEARS OLD. THE STICK IS THE SAME, THERE SHOULD BE SOME CLOTH WRAPPED AROUND THE END. IT’S ORIGINAL, I THINK IT’S MADE BY A BLOOD TRIBE [MEMBER], BECAUSE I KNOW MY DAD KNEW A LOT OF THEM. I THINK IT WAS MADE BY ANDY SHADE.” “[I REMEMBER MY FATHER] GETTING IT. HE JUST SHOWED UP, ANDY WAS THERE. THEY WERE HAVING A BEER AND HE BROUGHT IT INTO HIM.” “[MY FATHER AND ANDY SHADE] WERE FRIENDS. THEY WERE FRIENDS IN MAGRATH AND IN LETHBRIDGE, THAT’S WHEN HE GOT IT…IT’S FROM MAGRATH.” “WE PLAYED WITH IT. WE’D WALK AROUND TOWN, GO UP AND DOWN THE STREET.” “[MOTHER] HAD CLOTHES FROM WHEN WE WERE LITTLE, NOT ALL THE CLOTHES BUT SOME HANGING UP. THIS WAS UP THERE. SHE HAD STORAGE ON HER WALL FULL OF TOYS, [AND] GAMES.” “IT DOES MEAN SOMETHING. IT DID MEAN SOMETHING. IT’S PART OF MY CHILDHOOD, PART OF MY GROWING UP.” HAMILTON ELABORATED ON HIS CHILDHOOD, NOTING, “WHEN I WAS GROWING UP IT WAS WAY DIFFERENT THAN IT IS NOW. IF YOU NEEDED A SPANKING YOU GOT A SPANKING…NOW YOU CAN’T TOUCH ANYBODY. THAT’S PART OF MY GROWING UP SO I WOULD IMAGINE EVERYBODY ELSE WAS DOING IT TOO. THEY DIDN’T THINK OF IT BY THEMSELVES.” “I WAS GONE ALL THE TIME. MY AUNT LIVED DOWN THE STREET AND I GUESS I WOULD GO VISIT HER, PUT MY HAT ON WHETHER I HAD CLOTHES ON OR NOT, GO VISIT HER. MY DAD WORKED A BLOCK AWAY. EVERYBODY KNEW ME. IT WASN’T A BIG TOWN, AND MY UNCLE WAS A SCHOOL TEACHER THERE, PRINCIPAL AT THE SCHOOL. I’VE GOT LOTS OF RELATIVES OUT THERE.” “THEY’D SEND ME TO SCHOOL AND I WOULDN’T GO. RECESS I’D GO PLAY WITH THE GUYS AT RECESS AND THEN I’D TAKE OFF AGAIN, I’D GO FISHING.” “MY MOTHER [CORRINE HAMILTON] NEVER THREW ANYTHING AWAY. GAMES FROM WHEN WE WERE KIDS…JACKETS, SHOES, SKATES, SHE KEPT IT.” “MY BROTHER AND MY SISTER [WENT THROUGH MY MOTHER’S THINGS WHEN SHE PASSED AWAY TEN YEARS AGO]…[MY BROTHER CALLED] HE SAID, “DO YOU WANT YOUR JACKET BACK? AT THE TIME I THOUGHT I WAS GOING TO MAKE A FRAME FOR ALL THIS STUFF AND THEN PUT IT ON MY WALL. ONE THING LED TO ANOTHER AND WE SOLD MY HOUSE, MOVED TO AN APARTMENT, [AND I] DIDN’T WANT TO DO IT.” “IT’S PART OF MY CHILDHOOD.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170018001-GA.
Catalogue Number
P20170018003
Acquisition Date
2017-05
Collection
Museum
Images
Less detail
Other Name
RETRACTABLE BANNER
Material Type
Artifact
Materials
VINYL, COTTON
Catalogue Number
P20180006007
  2 images  
Material Type
Artifact
Other Name
RETRACTABLE BANNER
Date
2017
Materials
VINYL, COTTON
No. Pieces
1
Length
199.6
Width
83.6
Description
WHITE VINYL VERTICAL BANNER. MULTICOLOUR BORDER AROUND TEXT, WITH RED MAPLE LEAF AND GREEN BANNER IN UPPER LEFT CORNER WITH WHITE TEXT “2017; LETHBRIDGE CELEBRATES CANADA 150; WWW.LETHBRIDGE.CA/CANADA150”. BANNER BACKGROUND HIS WHITE AND PRINTED WITH LIGHT GREY ENTERTAINMENT SYMBOLS, INCLUDING GUITAR, KITE, GOLF TEE, SKATER, ETC. UPPER RIGHT CORNER HAS BLUE TEXT “#CANADA150YQL, #GETMOVINGYQL”. TOP OF BANNER HAS MULTICOLOURED CANADA 150 MAPLE LEAF, WITH BLUE TEXT “CANADA 150, LETHBRIDGE CELEBRATES THE SESQUICENTENNIAL!” BANNER HAS IMAGES OF CHILDREN PLAYING IN SPLASH PARK AND SKATING, WITH PINK TEXT ON GREEN TRIANGLE “FREE SWIM”, AND YELLOW TEXT ON BLUE TRIANGLE “FREE SKATE”. BANNER HAS BLUE TEXT BELOW IMAGES “FREE SESQUI SWIMS & SKATES ALL YEAR LONG!” RED TEXT IN THE MIDDLE OF THE BANNER READS “CANADA 150, SATURDAY JULY, 1, 2017; HENDERSON LAKE – LETHBRIDGE; 2 STAGES / FOOD VENDOR HUB/ KIDZONE” WITH RED, WHITE AND BLUE SPEAKER IMAGES ON SIDES OF TEXT. BLUE TEXT BELOW READS “CHECK ONLINE FOR SPECIAL CANADA 150 EVENTS HAPPENING ALL YEAR LONG! WWW.LETHBRIDGE.CA/CANADA150”. LOWER LEFT CORNER OF BANNER HAS IMAGE OF GREEN MOOSE WITH BLUE OUTLINE AND PINK SUNGLASSES, WITH ORANGE TEXT BUBBLE EXTENDED FROM MOOSE WITH BLUE BORDERS AND BLUE TEXT “FOR SO MUCH MORE!” BOTTOM EDGE HAS CITY OF LETHBRIDGE SEAL AND RECREATION AND CULTURE LOGO. RIGHT EDGE HAS TEAR IN VINYL; VINYL IS CREASED FROM FOLDING; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
COMMEMORATIVE
LEISURE
History
ON MARCH 29, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LORI HARASEM AND JENNIE SUDO REGARDING THE CITY OF LETHBRIDGE DONATION OF CANADA 150 MEMORABILIA. HARASEM AND SUDO WERE INVOLVED WITH ORGANIZING THE JULY 1, 2017 EVENTS FOR CANADA 150, WITH SUDO ACTING AS CHAIR FOR THE LETHBRIDGE CANADA DAY COMMITTEE WITH THE CITY OF LETHBRIDGE AND HARASEM AS A MEMBER OF THE COMMITTEE. ON THE BANNER, HARASEM ELABORATED, “THIS WAS A BANNER THAT WE HAD TO PROMOTE, OBVIOUSLY CANADA DAY, BUT WE ALSO HAD IT AT OTHER EVENTS THROUGHOUT THE YEAR TO PROMOTE CANADA DAY. AT THE TOP, IT MENTIONS THE FREE SWIM AND SKATING AS WELL. THE BIGGEST THING FOR US WAS AT THE BOTTOM, THE URL WHERE WE HAD ALL THE INFORMATION, YEAR-ROUND ABOUT WHAT WAS GOING ON WHICH WAS THE LETHBRIDGE.CA/CANADA150. THIS WAS OUR BANNER THAT WENT TO MANY PLACES THROUGHOUT THE YEAR; ANY TRADE SHOWS WE WENT TO, SO THAT PEOPLE WOULD BE AWARE WHERE TO FIND OUT INFORMATION ABOUT CANADA DAY AND OTHER ACTIVITIES THAT WERE GOING ON.” “IT WAS…A POP-UP BANNER THING THAT…YOU JUST PULL UP AND DOWN AS WE NEEDED AND TRANSPORTED AS ONE, ROLLED-UP PIECE AT EVENTS.” “WE MADE THE [ONLY] ONE BUT WE DO HAVE TWO [OTHER BANNERS]. ONE’S THE FREE SWIM AND ONE’S THE FREE SKATE. THESE WERE THE ONES THAT WOULD BE PUT OUT AT THE POOL OR AT THE ARENA THAT WAS HOSTING THAT DAY TO SAY, “TODAY, FREE SWIM. CANADA 150 CELEBRATION”. THOSE TWO BANNERS WERE EXCLUSIVE JUST TO SWIMMING AND SKATING. THIS ONE WENT TO ALL ACROSS THE COMMUNITY, ALL YEAR-LONG.” “ERIC SHARP…DESIGNED ALL OF THE BANNERS, ALL THREE.” “THEY WERE ALL DONE LOCALLY, AND WE USE THEM A LOT BECAUSE THEY LET US TRANSITION OUT THE BASE, SO WE CAN RE-USE BASES AND WE NEED TO SAVE MONEY…SIGN SUPERSTORE…CREATED ALL THREE.” HARASEM AND SUDO RECALLED THEIR TIME PLANNING AND ORGANIZING THE 2017 EVENTS, WITH SUDO NOTING ABOUT THE PLANNING COMMITTEE, “THE LETHBRIDGE CANADA-DAY COMMITTEE IS A COMMITTEE THAT’S MADE UP OF CITY OF LETHBRIDGE EMPLOYEES IN PART WITH COMMUNITY VOLUNTEERS. MY POSITION AS THE COORDINATOR OF RECREATION AND CULTURE, I AM AUTOMATICALLY VOLUNTEERED FOR THIS COMMITTEE ALONG WITH OUR RECREATION AND CULTURE TEAM. THE CHAIRING RESPONSIBILITIES FOR THAT COMMITTEE GET ROTATED BETWEEN OUR TEAM MEMBERS EVERY TWO YEARS AND MY YEAR JUST SO HAPPENED TO FALL ON THIS VERY IMPORTANT, NOSTALGIC YEAR FOR CANADA’S 150.” “[THE COMMITTEE IS] ALWAYS IN EXISTENCE. I THINK [THERE] WAS A LOT OF PRESSURE, BUT REALLY GREAT PRESSURE. I WAS VERY PROUD TO BE ABLE TO BE PART OF THE COMMITTEE. AND BEING ABLE TO LEAD THE TEAM FOR MY VERY FIRST TURN AT CHAIRING THE COMMITTEE. I FELT A LOT OF PRIDE TO BE ABLE TO SHOW THAT OUR COMMUNITY CAN COME TOGETHER AND CELEBRATE CANADA’S 150.” “[THE] COMMITTEE [WAS] COMPRISED OF THE RECREATION AND CULTURE TEAM, WHICH WAS TWO MANAGERS, LORI HARASEM AND JASON FREUND, MYSELF AS THE CHAIR FOR [2017]. WE ALSO [HAD] MARLENE LAPOINTE, SARAH BURTON, SCOTT CARPENTER AND ONE OF OUR TEMPORARY EMPLOYEES, ERIC SHARP, [AS] PART OF THE COMMITTEE AS FAR AS THE CITY OF LETHBRIDGE SIDE GOES. WE ALSO HAD THREE PUBLIC VOLUNTEERS FROM THE COMMUNITY. WE HAD ADELLE HARRINGTON, BOBBY MCCALLUM AND DAVID FRITZ WHO ALSO PLAYED A HUGE ROLE IN HELPING COORDINATE SOME OF THE ACTIVITIES THERE.” “AS SOON AS CANADA DAY 2016 ENDED, WE WERE ALREADY THINKING ABOUT WHAT WE WERE GOING TO BRING BACK, WHAT KIND OF BUDGET WE WERE GOING TO NEED, WHAT KIND OF ACTIVITIES WE WERE GOING TO HAVE, HOW WE WERE GOING TO MAKE IT SPECIAL, AND MAKE IT STAND OUT THE NEXT YEAR…FOR THE REST OF THE CANADA DAY [EVENTS], THE ONES THAT AREN’T CANADA 150 OR STAND-OUT, WE WOULD PROBABLY ONLY START [PLANNING] ABOUT SIX MONTHS IN ADVANCE. BUT, THE PLANNING PROCESS FOR CANADA DAY, PERIOD, IS QUITE LONG AND STRENUOUS. WE HAVE TO THINK ABOUT SOME PRETTY TIGHT TIMELINES WHEN WE’RE TALKING ABOUT PLANNING AN EVENT THAT BIG. WE DEFINITELY NEEDED THE FULL YEAR TO PLAN CANADA 150.” “CURRENTLY, THE ONLY SPECIAL EVENT THAT THE CITY OF LETHBRIDGE REALLY HOSTS, AS A CORPORATION, IS THE CANADA DAY EVENT. WE RELY ON OUR COMMUNITY GROUPS TO DO MOST OF OUR OTHER SPECIAL EVENTS. ON THE EVENTS PLANNED, HARASEM RECALLED, “IN ALL HONESTY, FOR THE CANADA DAY ACTIVITIES ITSELF, THOUGH I’M ON THE COMMITTEE, I’M NOT AS INVOLVED WITH THAT AS OTHER THINGS THAT I OVERSAW THAT LASTED FROM JANUARY 1ST TO DECEMBER 31ST. SEEING JENNIE AND THE TEAM AND HOW MUCH THEY WORKED…THEY EVEN CHANGED THE LAYOUT AT HENDERSON LAKE THAT HAD BEEN THE SAME WAY FOREVER AND WE HAD TO GO TO SENIOR LEADERS OF THE CITY AND ASK FOR EXTRA MONEY BECAUSE THE BUDGET FOR CANADA DAY HASN’T CHANGED FOR TWELVE OR FIFTEEN YEARS. TO PUT ON SOMETHING THAT WE KNEW THE PUBLIC EXPECTED A LOT [FROM]…[WAS] MY BIGGEST ROLE WITH THE CANADA DAY. IT WAS A HUGE AMOUNT OF WORK AND IT WAS SO SUCCESSFUL, ESPECIALLY ON THE SOCIAL MEDIA SIDE. AT THE CITY, WE’RE USED TO SEEING A LOT OF NEGATIVE COMMENTS. OUR COMMUNICATIONS TEAM HAS SAID THAT THE MOST POSITIVE COMMENTS THEY’VE EVER HAD ON ANYTHING THAT THEY’VE EVER POSTED ON THEIR FACEBOOK WAS AFTER THE CANADA DAY. I THINK THAT THEIR TEAM, JENNIE’S TEAM, DID AMAZING AT MEETING THE EXPECTATIONS OF THE PUBLIC WHICH WERE VERY HIGH.” “I CAME IN [WITH THE COMMUNITY GROUPS ORGANIZING]. WE HAD A GRANT, ‘CANADA 150’. WE HAD EXTRA FUNDING INJECTED INTO OUR BUDGET FOR 2017 [AT] OUR REQUEST, SO THAT WE COULD HELP LOCAL GROUPS THAT WERE ALREADY DOING EVENTS TO THEME IT AROUND CANADA 150. NORMALLY, THE CITY’S RULES IS YOU CAN ONLY GET ONE GRANT FOR ANY EVENT, EVEN THOUGH THERE’S MULTIPLE GRANTS AVAILABLE. BUT, FOR CANADA 150, WE ALLOWED GROUPS TO GET THEIR NORMAL GRANT, AND WE ALLOWED THEM TO ASK FOR UP TO $750 EXTRA, AND THAT WOULD ALLOW THEM TO THEN THEME THEIR EVENT. WE DIDN’T CARE HOW THEY DID THAT. IF THEY WANTED TO USE $750 TO BUY RED AND WHITE CUPCAKES AND BALLOONS [THEY COULD]. WE HAD [AT THE] JAPANESE GARDEN A HUNDRED AND FIFTY JAPANESE DANCERS PERFORMING AND THEY BOUGHT SPECIAL RED MATCHING JACKETS WITH THE MONEY THEY GOT. IT WAS OUR WAY OF ENCOURAGING THE COMMUNITY TO CELEBRATE CANADA 150 ALL YEAR-ROUND. BECAUSE ALL WE DO IS CANADA DAY, WE HAD TO FIND A WAY TO HELP THE COMMUNITY CELEBRATE CANADA 150 AND TO PUT IT IN THE PUBLIC’S EYES ALL YEAR-ROUND IN ANY WAY WE COULD. WE HAD A LOT OF GROUPS AND A LOT OF EVENTS. THERE WAS THIRTY-EIGHT EVENTS THAT RECEIVED FUNDING OVER THE COURSE OF THE YEAR, SO THERE WAS SOMETHING EVERY MONTH OF THE YEAR.” “DURING, “PRETTY, WITTY AND GAY”, WHICH IS AN EVENT THE LGBTQ COMMUNITY PUTS ON IN FEBRUARY/MARCH, THEY USED THEIR FUNDING TO [HAVE] A BIG BULLETIN BOARD WHERE PEOPLE [COULD] WRITE DOWN THEIR THOUGHTS ABOUT WHAT IT WAS LIKE TO BE GAY IN CANADA. AND TO SHARE THEIR FEELINGS ON [BEING GAY IN CANADA] TO CONNECT BECAUSE, OBVIOUSLY, WE’RE A MORE OPEN-MINDED COUNTRY AROUND THAT THAN MOST OF THE WORLD. THAT, TO ME, WAS A REALLY UNIQUE WAY TO CELEBRATE CANADA’S 150TH.” “WE ALSO HAD A SMALL THEATRE GROUP COME TOGETHER, A COLLECTIVE THAT HAD NEVER EXISTED BEFORE. THEY PUT ON A VERY CONTROVERSIAL PLAY ABOUT FORMER PRIME MINISTER STEPHEN HARPER WHICH I WENT TO SEE AND IT WAS PRETTY SMALL. IT WASN’T THIS HUGE PLAY WHICH IS DONE IN CASA IN THE BLACK BOX [THE COMMUNITY ATB ROOM] BUT IT WAS FUNNY. IT WAS VERY CONTROVERSIAL AND WE DID PUT SOME MONEY BEHIND THAT.” “[THERE WAS] UPPER VICTORIA PARK NEIGHBOURS. I HAD SO MANY NEIGHBOUR DAYS. BUT WITH NEIGHBOUR DAY BEING A VERY POPULAR EVENT IN JUNE, AND WE’VE GOT MORE NEIGHBOURHOOD ASSOCIATIONS FORMING, WE REALLY ENCOURAGED THE NEIGHBOURHOODS TO APPLY FOR THE GRANT. MOST OF THE NEIGHBOURHOOD ASSOCIATIONS, AT THIS POINT, THEIR NEIGHBOUR DAY EVENTS ARE PRETTY SMALL, UNDER A HUNDRED PEOPLE. BUT IT’S THE PERFECT PLACE TO CELEBRATE CANADA DAY AND CELEBRATE YOUR NEIGHBOURS. OF COURSE, UPPER VICTORIA PARK IS THE ‘GO BIG OR GO HOME’ NEIGHBOURHOOD ASSOCIATION FOR NEIGHBOUR DAY. IT’S EXCITING WHENEVER WE’RE ABLE TO SUPPORT THE THEME OF THE EVENT IN ANY WAY BECAUSE WE KNOW THAT PEOPLE FROM EVEN OUTSIDE LETHBRIDGE ATTEND THAT EVENT. WE’RE NOT JUST SUPPORTING THE MEMBERS OF UPPER VICTORIA PARK NEIGHBOURHOOD ASSOCIATION WHEN WE SUPPORT SOMETHING, SO IT WAS NEAT TO BE ABLE TO PUT SOME MONEY THERE.” “OF COURSE, WINTER LIGHTS FESTIVAL AT JAPANESE GARDEN IS A VERY NEW EVENT. THIS WAS ONLY ITS SECOND YEAR, EVER. THOUGH IT IS A TRADITIONAL, JAPANESE, CULTURAL WINTER EVENT, WE WERE ABLE TO GIVE THEM SOME FUNDING, TOO, BECAUSE THEY ACTUALLY [HAD] THE FIRST EVENT IN 2017 BECAUSE THEY START IN EARLY DECEMBER AND GO TILL FEBRUARY. THEY WERE THE LAST EVENT, ‘CAUSE THEY WERE ON NEW YEAR’S EVE IN 2017. THAT FESTIVAL, THE FIRST TWO YEARS OF IT, KICKED OFF THE BEGINNING OF CANADA 150 AND ENDED CANADA 150 FOR US. IT WAS NEAT TO HAVE SUCH AN IMPORTANT CULTURAL GROUP AND ATTRACTION IN LETHBRIDGE…BE THE FOCUS OF THAT. THERE WERE EVENTS OF ALL SIZES. WE EVEN HAD THE DOGS THAT [ON] THE LAST DAY OF OPERATIONS [AT WESTMINSTER POOL] IS JUST FOR DOGS. EVEN THE HUMANE SOCIETY GOT MONEY TO [HAVE] DOG CANDIES THAT WERE RED AND WHITE…DOG TREATS DECORATED WITH RED AND WHITE BALLOONS AND RIBBONS. I WENT TO IT AND IT WAS HILARIOUS. THE DOGS [TOOK] OVER THE POOL AND THEY’RE SO HAPPY, IN CELEBRATION OF CANADA’S 150TH.” “WE ALSO HAD FREE SWIMMING AND SKATING THROUGHOUT THE YEAR THAT THE CITY SPONSORED AS A CELEBRATION. THAT WAS BECAUSE WE OBVIOUSLY WANT PEOPLE TO BE ACTIVE AND WE WANT PEOPLE TO USE OUR FACILITIES, AND WE KNOW THAT COSTS CAN BE A BARRIER. EVERY MONTH WE HAD AT LEAST ONE FREE SWIMMING WHERE THE FIRST HUNDRED AND FIFTY PEOPLE WERE FREE. IN THE SUMMER THAT INCLUDED BOTH OF THE OUTDOOR POOLS, HENDERSON AND WESTMINSTER. HENDERSON WAS REALLY POPULAR ‘CAUSE IT’S ONLY SECOND YEAR OF OPERATIONS…IT’S STILL [A] VERY POPULAR PLACE TO GO. THEN, WE HAD FREE SKATING AT ALL OUR ARENAS, INCLUDING THE NEW ATB CENTRE AND WE HAD THOSE AT LEAST [ONCE] A WEEK THROUGHOUT THE WHOLE YEAR. THOUSANDS OF PEOPLE IN LETHBRIDGE GOT TO PARTICIPATE IN SWIMMING OR SKATING FOR FREE AS [PART OF THE] CELEBRATION. AT SOME OF THOSE, WE HANDED OUT LITTLE CANADA FLAGS OR CANADA TATTOOS OR HAD BALLOONS.” ON THE DONATION OF CANADA 150 MATERIALS TO THE MUSEUM, HARASEM NOTED, “I BELIEVE THAT THIS IS IMPORTANT TO GO TO THE GALT BECAUSE I KNOW THAT WHEN WE FIRST REALIZED WE NEEDED TO DO SOMETHING TO CELEBRATE THE 150TH, THE FIRST THING WE DID WAS LOOK BACK TO SEE WHAT HAPPENED AT THE 100TH AND WHAT WE HAD IN THE MUSEUM AND ELSEWHERE IN LETHBRIDGE FOR CELEBRATIONS THAT OCCURRED AT THAT TIME. [WE WERE LOOKING TO] SEE IF THERE WERE THINGS THAT WE COULD MIMIC OR SHOULD KNOW ABOUT. WE USED A LOT OF PHOTOS THROUGH OUR REC AND CULTURE GUIDE FOR THAT YEAR TO REMIND PEOPLE THAT, FIFTY YEARS AGO WAS THE BIG CENTENNIAL. WE THOUGHT THAT WHEN THE 200TH COMES, THAT PEOPLE WOULD PROBABLY BE WANTING TO LOOK BACK TO 2017 TO SEE WHAT HAD HAPPENED.” SUDO ADDED, “I THINK CANADA’S SESQUICENTENNIAL [150TH ANNIVERSARY] WAS VERY IMPORTANT TO REMEMBER BECAUSE FIFTY YEARS IS A LONG TIME AND A LOT HAPPENS IN FIFTY YEARS. IT’S GREAT TO BE ABLE TO LOOK BACK AT ALL OF THE THINGS THAT WE DID FOR CANADA’S SESQUICENTENNIAL AND REMEMBER ALL OF THE HARD WORK, AND THE COMMUNITY COMING TOGETHER AND SHOWING THEIR CANADIAN PRIDE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180006007-GA.
Catalogue Number
P20180006007
Acquisition Date
2018-03
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 INTERVIWED 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.” “I LEARNED LATER, THAT [MY MOTHER’S LOVE OF ART] WAS BORN OUT OF HER DESIRE TO BRING ART TO HER SISTER, FERN, WHO HAD A BRAIN ANEURYSM WHEN SHE WAS ABOUT FIFTEEN YEARS OLD. [FERN] SPENT MANY YEARS IN HOSPITAL IN LABRECQUE, IN SASKATCHEWAN, BUT [MOM] NEVER GOT THERE; NEVER GOT THE PAINTINGS OUT THERE. THE ART WORK IS, IN SOME WAYS, CRUDE. THERE ARE NO SHADOWS; THE PEOPLE ARE KIND OF LUMPY; THE COLORS ARE BRIGHT, AND ALL THESE SCENES REPRESENT SOMETHING OF HER LIFE AS A YOUNG GIRL ON A FARM, IN SASKATCHEWAN, AND HOW HARD IT MUST HAVE BEEN. THERE IS A LOT OF FEELING IN EACH ONE OF HER PAINTINGS. MANY OF THEM WE’LL NEVER KNOW THE STORIES, BUT THEY’RE ALL COUCHED IN STORIES. I HAD NO IDEA EITHER, UNTIL JUST NOW, HOW PROLIFIC SHE WAS; HOW MANY PAINTINGS SHE MUST HAVE DONE. I THINK IT WAS A CATHARSIS FOR HER, BUT ALSO REPRESENTATIVE OF THEIR LIVES, GROWING UP ON A FARM IN SASKATCHEWAN—THE ISOLATION, THE COLD, THE STRIFE AMONGST THE FAMILY, THE DIFFICULTY OF HER PARENTS HOLDING A MARRIAGE TOGETHER, AND THEIR DESPERATION, WITH SEVEN KIDS, TO GET OFF THE FARM AND GET OUT OF THERE, AND MAKE SOMETHING. IT’S A HERITAGE – HER PAINTINGS, AS ARE THESE HERE. YOU JUST LOOK AT THEM AND WONDER HOW IT IS THAT AN ARTIST CAN VISUALIZE THIS, AND PUT SO MUCH FEELING INTO EACH PIECE. THE LIGHT, THE FACIAL EXPRESSION, THE SUGGESTION OF A LINE, SOMETHING SIMPLE…SOMEBODY JUST [DAUBED] THE PAINT ON THERE, GLOBS THE YELLOW OF THE TREES. THERE’S SOMETHING THERE THAT—IT’S A HERITAGE. I [HEARD IN A MOVIE] ART IS THE TRUTH THAT WE HAVE EXISTED. THESE PEOPLE EXISTED. MOM, THE LIFE THEY HAD, WILL BE FORGOTTEN, BUT IT WAS THERE. NOW, AS OUR SUCCEEDING GENERATIONS, WE HAVE THE LIFE WE HAVE BECAUSE OF WHAT THEY WENT THROUGH. THE RICHNESS OF THEIR LIFE, WE CAN NEVER REPAY IT, BUT WE CAN HOPE TO PROFIT FROM IT.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’S. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” “MOM AND DAD RAISED US AS SORT OF ‘FREE RANGE’ KIDS, AND THAT CARRIED ON OUT ON THAT FIVE ACRE LITTLE FARM-ETTE. WE COULD PRETTY MUCH DO ANYTHING, AND EXPERIMENT. WE ALWAYS HAD WOODWORKING TOOLS, AND TOOLS OF ALL KINDS IN THE BASEMENT ON HENDERSON LAKE BOULEVARD, AND LOTS TO MESS AROUND WITH. IF IT WASN’T ASTRONOMY, IT WAS POETRY, IT WAS WRITING, IT WAS ART, IT WAS BUILDING SOMETHING, OR FIXING SOMETHING UP THERE. IT WAS A STYLE OF LIFE THAT, IN REFLECTION, IT WAS QUITE A GIFT, QUITE A LEGACY TO US CHILDREN.” “THEY [BUILT] THE HOUSE ON HENDERSON LAKE BOULEVARD, I THINK IT WAS THE SECOND OR THIRD HOUSE ON HENDERSON LAKE BOULEVARD. ACROSS THE STREET WAS BALD PRAIRIE AT THE TIME, SO WE COULD JUST RUN AROUND.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD, MORE OR LESS, AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THEY WERE HAVING TROUBLE WITH AGE-RELATED DISEASE, AND BECOMING FORGETFUL, AND THEY HAD TO MOVE INTO TOWN. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” “IF I HAD A BIGGER HOUSE, IF I HAD MORE ROOM, IF I WAS A VISUAL ARTIST, THEN THERE’D BE NO QUESTION THEY’D BE UP SOMEWHERE, NO MATTER WHO SAID WHAT. I HAVE A FAIR NUMBER ALREADY ON THE WALLS AT HOME, AND AS THESE ARE THINGS THAT ARE FAMILIAR TO ME, ARRAIGNED WITH MY YOUTH, AND WITH MY PARENTS BEING ARTISTS. HOWEVER, THEY WILL NOT SURVIVE IF DON’T BRING THEM HERE. WE JUST WON’T KEEP THEM, AND NOBODY IN MY FAMILY IS INTERESTED IN THEM. SO, NOT DOING ART, I GUESS IT’S GOOD THAT THEY’RE HERE. WHAT AM I GOING TO DO, JUST STACK THEM UP AGAINST THE WALL? THEY EVENTUALLY WILL PERISH.” 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
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Material Type
Artifact
Materials
WOOD, PAINT, PAPER
Catalogue Number
P20190006002
  2 images  
Material Type
Artifact
Other Name
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Materials
WOOD, PAINT, PAPER
No. Pieces
1
Height
34.2
Length
49.3
Description
OIL ON WOOD PANEL PAINTING IN WHITE WOODEN FRAME. IMAGE OF TREES AND HOUSES IN SNOW, WITH SIDE OF BUILDING AT LEFT EDGE AND HOUSE PILLAR AT RIGHT EDGE; HOUSES WHITE WITH RED-BROWN ROOFS IN BACKGROUND, AND TREES IN FOREGROUND. SNOW COMPRISED OF BLUE AND WHITE PAINT; TREES COMPLETED IN BLACK, GREEN, BROWN AND ORANGE TONES; HOUSE PILLAR AND SIDING IN BROWN AND GREEN. PAINTING SIGNED IN RED IN LOWER LEFT CORNER “E.E. RIETHMAN”. MID-GROUND HAS BROWN FENCE BETWEEN TREES AND BUILDINGS IN BACKGROUND. FRONT OF FRAME HAS WHITE TRIM ALONG FRONT OF CANVAS, WITH GOLD TRIM ABOVE WHITE TRIM; FRAME PAINTED OFF-WHITE. BACK OF PAINTING HAS BROWN PAPER BACKING WITH TWO BLACK METAL SCREW ON UPPER LEFT AND RIGHT SIDES, WITH WHITE CORD FASTENED TO SCREWS. LEFT EDGE OF BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER “OWNED BY H. FLAIG 3279791, NF5”; BACKING HAS STAMPED TEXT IN FADED INK ALONG LOWER EDGE “GAINSBOROUGH GALLERIES, 310 – 7TH ST. SOUTH – LETHBRIDGE”. BACKING HAS WHITE PAPER LABEL AT UPPER EDGE WITH HANDWRITTEN TEXT IN BLACK INK “$20.00 /1970”; BACKING HAS PRINTED ARTICLE IN CENTER ON WHITE PAPER WITH BLACK TEXT “ERNEST E. RIETHMAN, EXHIBITION APRIL 25 – MAY 31 ORGANIZED BY THE SOUTHERN ALBERTA ART GALLERY WITH FUNDING ASSISTANCE FROM THE ALBERTA ART FOUNDATION…” WITH BIOGRAPHY ON ERNEST E. RIETHMAN BY “BRENT LAYCOCK, GUEST CURATOR” AND BLACK AND WHITE PHOTO “WATERTON LAKE, C.1958, OIL ON PANEL, 56 X 86 CM, COLLECTION OF MR. AND MRS. DON AND JUDY NILSSON, PHOTO: DON CORMAN”. PAPER BACKING HAS TEARS BESIDE SCREWS; BACKING HAS YELLOWED MASKING TAPE ALONG LOWER EDGE OF PAPER ARTICLE; ARTICLE EDGES STAINED YELLOW FROM ADHESIVE RESIDUE. BACK OF FRAME HAS PAIRS OF METAL NAILS IN UPPER AND LOWER LEFT AND RIGHT CORNERS, WITH NAILS HEADS COVERED WITH BROWN PAINT. BACK OF FRAME IS STAINED AND CHIPPED AT EDGES AND CORNERS; FRONT OF FRAME HAS BROWN AND WHITE STAINING ALONG EDGES; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIWED 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, “ “VIEW FROM THE PORCH” WOULD HAVE BEEN UP IN THE HOUSE FOR QUITE A WHILE. THAT’S VERY FAMILIAR TO ME. IT’S CERTAINLY THE STYLE OF [ART] THAT THEY WOULD DO. MOM WAS ALWAYS MENTIONING THE OIL. IT’S THE KIND OF [ART] THEY WOULD HAVE DONE, THAT THEY WOULD HAVE LIKED.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN 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.” “I LEARNED LATER, THAT [MY MOTHER’S LOVE OF ART] WAS BORN OUT OF HER DESIRE TO BRING ART TO HER SISTER, FERN, WHO HAD A BRAIN ANEURYSM WHEN SHE WAS ABOUT FIFTEEN YEARS OLD. [FERN] SPENT MANY YEARS IN HOSPITAL IN LABRECQUE, IN SASKATCHEWAN, BUT [MOM] NEVER GOT THERE; NEVER GOT THE PAINTINGS OUT THERE. THE ART WORK IS, IN SOME WAYS, CRUDE. THERE ARE NO SHADOWS; THE PEOPLE ARE KIND OF LUMPY; THE COLORS ARE BRIGHT, AND ALL THESE SCENES REPRESENT SOMETHING OF HER LIFE AS A YOUNG GIRL ON A FARM, IN SASKATCHEWAN, AND HOW HARD IT MUST HAVE BEEN. THERE IS A LOT OF FEELING IN EACH ONE OF HER PAINTINGS. MANY OF THEM WE’LL NEVER KNOW THE STORIES, BUT THEY’RE ALL COUCHED IN STORIES. I HAD NO IDEA EITHER, UNTIL JUST NOW, HOW PROLIFIC SHE WAS; HOW MANY PAINTINGS SHE MUST HAVE DONE. I THINK IT WAS A CATHARSIS FOR HER, BUT ALSO REPRESENTATIVE OF THEIR LIVES, GROWING UP ON A FARM IN SASKATCHEWAN—THE ISOLATION, THE COLD, THE STRIFE AMONGST THE FAMILY, THE DIFFICULTY OF HER PARENTS HOLDING A MARRIAGE TOGETHER, AND THEIR DESPERATION, WITH SEVEN KIDS, TO GET OFF THE FARM AND GET OUT OF THERE, AND MAKE SOMETHING. IT’S A HERITAGE – HER PAINTINGS, AS ARE THESE HERE. YOU JUST LOOK AT THEM AND WONDER HOW IT IS THAT AN ARTIST CAN VISUALIZE THIS, AND PUT SO MUCH FEELING INTO EACH PIECE. THE LIGHT, THE FACIAL EXPRESSION, THE SUGGESTION OF A LINE, SOMETHING SIMPLE…SOMEBODY JUST [DAUBED] THE PAINT ON THERE, GLOBS THE YELLOW OF THE TREES. THERE’S SOMETHING THERE THAT—IT’S A HERITAGE. I [HEARD IN A MOVIE] ART IS THE TRUTH THAT WE HAVE EXISTED. THESE PEOPLE EXISTED. MOM, THE LIFE THEY HAD, WILL BE FORGOTTEN, BUT IT WAS THERE. NOW, AS OUR SUCCEEDING GENERATIONS, WE HAVE THE LIFE WE HAVE BECAUSE OF WHAT THEY WENT THROUGH. THE RICHNESS OF THEIR LIFE, WE CAN NEVER REPAY IT, BUT WE CAN HOPE TO PROFIT FROM IT.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’S. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” “MOM AND DAD RAISED US AS SORT OF ‘FREE RANGE’ KIDS, AND THAT CARRIED ON OUT ON THAT FIVE ACRE LITTLE FARM-ETTE. WE COULD PRETTY MUCH DO ANYTHING, AND EXPERIMENT. WE ALWAYS HAD WOODWORKING TOOLS, AND TOOLS OF ALL KINDS IN THE BASEMENT ON HENDERSON LAKE BOULEVARD, AND LOTS TO MESS AROUND WITH. IF IT WASN’T ASTRONOMY, IT WAS POETRY, IT WAS WRITING, IT WAS ART, IT WAS BUILDING SOMETHING, OR FIXING SOMETHING UP THERE. IT WAS A STYLE OF LIFE THAT, IN REFLECTION, IT WAS QUITE A GIFT, QUITE A LEGACY TO US CHILDREN.” “THEY [BUILT] THE HOUSE ON HENDERSON LAKE BOULEVARD, I THINK IT WAS THE SECOND OR THIRD HOUSE ON HENDERSON LAKE BOULEVARD. ACROSS THE STREET WAS BALD PRAIRIE AT THE TIME, SO WE COULD JUST RUN AROUND.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD, MORE OR LESS, AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THEY WERE HAVING TROUBLE WITH AGE-RELATED DISEASE, AND BECOMING FORGETFUL, AND THEY HAD TO MOVE INTO TOWN. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” “IF I HAD A BIGGER HOUSE, IF I HAD MORE ROOM, IF I WAS A VISUAL ARTIST, THEN THERE’D BE NO QUESTION THEY’D BE UP SOMEWHERE, NO MATTER WHO SAID WHAT. I HAVE A FAIR NUMBER ALREADY ON THE WALLS AT HOME, AND AS THESE ARE THINGS THAT ARE FAMILIAR TO ME, ARRAIGNED WITH MY YOUTH, AND WITH MY PARENTS BEING ARTISTS. HOWEVER, THEY WILL NOT SURVIVE IF DON’T BRING THEM HERE. WE JUST WON’T KEEP THEM, AND NOBODY IN MY FAMILY IS INTERESTED IN THEM. SO, NOT DOING ART, I GUESS IT’S GOOD THAT THEY’RE HERE. WHAT AM I GOING TO DO, JUST STACK THEM UP AGAINST THE WALL? THEY EVENTUALLY WILL PERISH.” 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 EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. 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
P20190006002
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
METAL, GLASS, PAPER
Catalogue Number
P20190006003
  2 images  
Material Type
Artifact
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Materials
METAL, GLASS, PAPER
No. Pieces
1
Length
42.7
Width
51.3
Description
PENCIL SKETCH ON PAPER INSIDE FRAME WITH METAL EDGES AND GLASS COVERING. SKETCH OF A SMALL CHILD ASLEEP HOLDING A DOLL, WITH A REVOLVER BESIDE THE DOLL. SKETCH UNSIGNED, ATTRIBUTED TO E.E. RIETHMAN. SKETCH INSIDE WHITE MATTE WITH BLACK INNER TRIM, WITH GLASS FRONT TO FRAME. FRAME SILVER METAL WITH FLORAL PATTERNED TRIM AROUND INSIDE. BACK OF FRAME HAS BROWN PAPER BACKING WITH SILVER LOOP-SCREW AT LEFT AND RIGHT EDGES, WITH SILVER METAL WIRES ATTACTED TO SCREWS. BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER AT UPPER LEFT CORNER “BY E. RIETHMAN” AND HANDWRITTEN TEXT IN BLACK MARKER AT LOWER-MIDDLE “OWNED BY H. FLAIG, 3279791, NF5.”. LOWER EDGE OF BACKING HAS WHITE LABEL WITH BLACK PRINTED TEXT “M.G.M. WALL DÉCOR, 317 – 4TH ST. SOUTH, LETHBRIDGE, AB, 328-0923” AND HANDWRITTEN TEXT IN BLACK INK ON LABEL “$120.00”. BACKING HAS FOLDED CORNER IN UPPER LEFT CORNER, AND TEAR IN PAPER AT LOWER RIGHT CORNER. FRONT OF SKETCH HAS GREEN STAINING AT RIGHT EDGE, BLUE-GREY STAIN AT LOWER LEFT EDGE, AND GREY STAINS ON LEFT AND RIGHT SIDES OF IMAGE. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE SKETCH BY ERNEST RIETHMAN, FLAIG RECALLED, ““THE BOY AND THE TEDDY BEAR”, I WONDER IF MOM DIDN’T HAVE THAT BECAUSE SHE WAS THINKING OF ME. IT LOOKS A LITTLE BIT LIKE I MIGHT HAVE LOOKED, AS A KID, AND I WOULD HAVE BEEN VERY YOUNG AT THAT TIME I THINK THIS ONE WAS DONE.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN 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.” “I LEARNED LATER, THAT [MY MOTHER’S LOVE OF ART] WAS BORN OUT OF HER DESIRE TO BRING ART TO HER SISTER, FERN, WHO HAD A BRAIN ANEURYSM WHEN SHE WAS ABOUT FIFTEEN YEARS OLD. [FERN] SPENT MANY YEARS IN HOSPITAL IN LABRECQUE, IN SASKATCHEWAN, BUT [MOM] NEVER GOT THERE; NEVER GOT THE PAINTINGS OUT THERE. THE ART WORK IS, IN SOME WAYS, CRUDE. THERE ARE NO SHADOWS; THE PEOPLE ARE KIND OF LUMPY; THE COLORS ARE BRIGHT, AND ALL THESE SCENES REPRESENT SOMETHING OF HER LIFE AS A YOUNG GIRL ON A FARM, IN SASKATCHEWAN, AND HOW HARD IT MUST HAVE BEEN. THERE IS A LOT OF FEELING IN EACH ONE OF HER PAINTINGS. MANY OF THEM WE’LL NEVER KNOW THE STORIES, BUT THEY’RE ALL COUCHED IN STORIES. I HAD NO IDEA EITHER, UNTIL JUST NOW, HOW PROLIFIC SHE WAS; HOW MANY PAINTINGS SHE MUST HAVE DONE. I THINK IT WAS A CATHARSIS FOR HER, BUT ALSO REPRESENTATIVE OF THEIR LIVES, GROWING UP ON A FARM IN SASKATCHEWAN—THE ISOLATION, THE COLD, THE STRIFE AMONGST THE FAMILY, THE DIFFICULTY OF HER PARENTS HOLDING A MARRIAGE TOGETHER, AND THEIR DESPERATION, WITH SEVEN KIDS, TO GET OFF THE FARM AND GET OUT OF THERE, AND MAKE SOMETHING. IT’S A HERITAGE – HER PAINTINGS, AS ARE THESE HERE. YOU JUST LOOK AT THEM AND WONDER HOW IT IS THAT AN ARTIST CAN VISUALIZE THIS, AND PUT SO MUCH FEELING INTO EACH PIECE. THE LIGHT, THE FACIAL EXPRESSION, THE SUGGESTION OF A LINE, SOMETHING SIMPLE…SOMEBODY JUST [DAUBED] THE PAINT ON THERE, GLOBS THE YELLOW OF THE TREES. THERE’S SOMETHING THERE THAT—IT’S A HERITAGE. I [HEARD IN A MOVIE] ART IS THE TRUTH THAT WE HAVE EXISTED. THESE PEOPLE EXISTED. MOM, THE LIFE THEY HAD, WILL BE FORGOTTEN, BUT IT WAS THERE. NOW, AS OUR SUCCEEDING GENERATIONS, WE HAVE THE LIFE WE HAVE BECAUSE OF WHAT THEY WENT THROUGH. THE RICHNESS OF THEIR LIFE, WE CAN NEVER REPAY IT, BUT WE CAN HOPE TO PROFIT FROM IT.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’S. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” “MOM AND DAD RAISED US AS SORT OF ‘FREE RANGE’ KIDS, AND THAT CARRIED ON OUT ON THAT FIVE ACRE LITTLE FARM-ETTE. WE COULD PRETTY MUCH DO ANYTHING, AND EXPERIMENT. WE ALWAYS HAD WOODWORKING TOOLS, AND TOOLS OF ALL KINDS IN THE BASEMENT ON HENDERSON LAKE BOULEVARD, AND LOTS TO MESS AROUND WITH. IF IT WASN’T ASTRONOMY, IT WAS POETRY, IT WAS WRITING, IT WAS ART, IT WAS BUILDING SOMETHING, OR FIXING SOMETHING UP THERE. IT WAS A STYLE OF LIFE THAT, IN REFLECTION, IT WAS QUITE A GIFT, QUITE A LEGACY TO US CHILDREN.” “THEY [BUILT] THE HOUSE ON HENDERSON LAKE BOULEVARD, I THINK IT WAS THE SECOND OR THIRD HOUSE ON HENDERSON LAKE BOULEVARD. ACROSS THE STREET WAS BALD PRAIRIE AT THE TIME, SO WE COULD JUST RUN AROUND.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD, MORE OR LESS, AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THEY WERE HAVING TROUBLE WITH AGE-RELATED DISEASE, AND BECOMING FORGETFUL, AND THEY HAD TO MOVE INTO TOWN. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” “IF I HAD A BIGGER HOUSE, IF I HAD MORE ROOM, IF I WAS A VISUAL ARTIST, THEN THERE’D BE NO QUESTION THEY’D BE UP SOMEWHERE, NO MATTER WHO SAID WHAT. I HAVE A FAIR NUMBER ALREADY ON THE WALLS AT HOME, AND AS THESE ARE THINGS THAT ARE FAMILIAR TO ME, ARRAIGNED WITH MY YOUTH, AND WITH MY PARENTS BEING ARTISTS. HOWEVER, THEY WILL NOT SURVIVE IF DON’T BRING THEM HERE. WE JUST WON’T KEEP THEM, AND NOBODY IN MY FAMILY IS INTERESTED IN THEM. SO, NOT DOING ART, I GUESS IT’S GOOD THAT THEY’RE HERE. WHAT AM I GOING TO DO, JUST STACK THEM UP AGAINST THE WALL? THEY EVENTUALLY WILL PERISH.” 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 EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. 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
P20190006003
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"ALBERTA MEAT MARKET"
Material Type
Artifact
Materials
STEEL, WOOD, IRON
Catalogue Number
P20180025000
  2 images  
Material Type
Artifact
Other Name
"ALBERTA MEAT MARKET"
Date
1955
Materials
STEEL, WOOD, IRON
No. Pieces
3
Height
115
Length
427
Width
24
Description
A. COMMERCIAL ADVERTISING SIGN, NEON. BODY STEEL PAINTED WITH TWO-TONE BLUE ON FRONT; FRONT HAS RED WOODEN LETTERS MOUNTED TO METAL FRAME AT BACK, SPELLING “ALBERTA" WITH WHITE NEON LETTERS OVERLAID. FRONT HAS WHITE LETTERS PAINTED ON BLUE BODY WITH OVERLAID WHITE NEON LETTERS READING “MEAT MARKET”. NEON LETTERS COMPRISED OF CONNECTED CLEAR, GLASS TUBES WITH BACKS PAINTED WHITE, AND UNPAINTED FRONTS; LETTERS ARE CONNECTED AND PAINTED BLACK BETWEEN INDIVIDUAL LETTERS; NEON LETTERS CONNECT INTO SIGN . LETTERS FASTENED TO FRONT OF SIGN BODY WITH BRACKETED GLASS EXTENSIONS, AND WITH SILVER WIRES TIED TO LETTERS. SIGN BODY IS RECTANGULAR WITH CUT-OUT SPACE IN CENTER WITH “ALBERTA" WOOD LETTERS IN FRONT OF CUT-OUT SPACE. SIGN BODY SLOPES DOWN FROM UPPER RIGHT CORNER; LOWER EDGE OF BODY SLOPES UP FROM RIGHT CORNER. SIGN FRONT HAS NEON TUBING ALONG UPPER EDGE ON BLUE FRAME, WITH SHORTER NEON TUBE RUNNING ACROSS FRAMING NEON TUBING ON THE LEFT SIDE. FRONT OF SIGN HAS LOGO BETWEEN “MEAT” AND “MARKET” NEON TEXT; LOGO COMPRISED OF RED BANNER EXTENDING FROM SIDES OF WHITE SHIELD IN CENTER; SHIELD HAS BLUE BORDER WITH BLUE “N” IN CENTER; RED BANNERS HAVE WHITE BORDERS AND WHITE TEXT ACROSS LOGO “NATIONAL NEON”.RED WOODEN LETTER “L” WARPED AND SPLITTING AT FRONT. TOP OF SIGN BODY STAINED WITH WHITE PAINT AND BLACK SOILING. BACK OF SIGN HAS FIXED BRACKETS ALONG EDGES WITH HOLES PUNCHED AT TOP AND BOLTED AT BOTTOMS TO SIGN BACK. BACK HAS BLACK POWER CORD EXTENDING WITH YELLOW POWER PLUG AT END; BACK HAS PAINT PEELING, IS STAINED AND RUSTED. BACK OF RED WOODEN LETTER “R” IS CRACKED; BACKS OF RED WOODEN LETTERS STAINED WITH YELLOW AND BLUE PAINT. OVERALL VERY GOOD CONDITION. B. NEON TUBING REMNANT, LETTERS “TA”, 41 CM LONG X 54 CM WIDE. GLASS TUBING FILLED WITH WHITE, PAINTED BLACK ON BACKS AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. LETTERS “TA” FASHION IN CURSIVE FONT AND CONNECTED; TUBE LOOPS OVER AT JUNCTION IN “A” AND GOING UP THE “T”. LOWER END OF “A” HAS BLUE PAINT STAINING; PAINT CHIPPED AROUND ENDS; OVERALL VERY GOOD CONDITION. C. NEON TUBING REMNANT, LETTERS “AT”, 28 CM LONG X 50 CM WIDE. CLEAR GLASS TUBING, EMPTY, GLASS IS YELLOWED. TUBING PAINTED BLACK ON BACK, AT LOWER BASE, AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. TUBES LOOP OVER AT JUNCTION IN “A” AND AT THE TOP LINE IN “T”. PAINT CHIPPED ON BACK AND FRONT; END CAPS RUSTED; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
INDUSTRY
History
IN 2018, THE GALT MUSEUM RECEIVED A COMMERCIAL NEON SIGN FROM THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THE CRIGHTON FAMILY. IN THE 1920S, GEORGE CRIGHTON OPENED CRIGHTON MEAT MARKET ON 3RD AVENUE BETWEEN 7TH AND 8TH STREET IN DOWNTOWN LETHBRIDGE, AND OPENED THE ALBERTA MEAT MARKET AS A SECOND SHOP AT 510—6TH AVENUE SOUTH. THE ALBERTA MEAT MARKET REMAINED OPERATED BY THE CRIGHTON FAMILY UNTIL ITS CLOSURE IN 2012. THE ORIGINAL NEON SIGN FROM THE ALBERTA MEAT MARKET WAS REMOVED AND DONATED ON NOVEMBER 22, 2018. IN APRIL 2019, THE SIGN UNDERWENT RESTORATIONS TO REPAIR THE NEON LETTERING AT L.A. NEON, LETHBRIDGE, PRIOR TO ITS INSTALLATION IN THE GALT MUSEUM PERMANENT DISPLAYS ON JULY 9, 2019. ON DECEMBER 19, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELAINE BROWN, WHOSE FATHER-IN-LAW, DAVE BROWN, OWNED NATIONAL NEAN DISPLAYS LTD., AND WHOSE HUSBAND, ALLAN BROWN, WORKED FOR NATIONAL NEON. ON THE “ALBERTA MEAT MARKET” SIGN, BROWN RECALLED, “THAT WAS ONE OF THE FIRST SIGNS THAT THEY MADE…THE WOOD ON IT, IS WHY I KNEW THAT IT WAS ONE OF THE FIRST ONES.” “[ALLAN] USED TO GO AROUND EVERY EVENING, ONCE A WEEK, AND CHECK AND MAKE SURE [THE SIGNS] WERE ALL KEPT UP. IF ANY OF THE NEON WAS BROKEN, THEN THEY WOULD IMMEDIATELY GO AND REPAIR IT SO THAT EVERYTHING WAS ‘AS IS’. HE WORKED [AT NATIONAL NEON] ALL DAY.” “[ALLAN] WAS PROUD OF THEM ALL. HE KNEW EXACTLY WHERE EVERY SIGN WAS. ANY ONE THAT HE WOULD PUT UP, HE COULD GO IN AND REPAIR QUICKLY, BECAUSE HE KNEW EXACTLY WHERE EVERYTHING WAS.” “ALLAN USED TO PAINT AND HANG SIGNS, [HIS BROTHER] JIM USED TO BLOW THE NEON AND [HIS BROTHER] BUSTER WOULD ALSO HANG SIGNS.” BROWN FURTHER ELABORATED ON THE HISTORY OF NATIONAL NEON DISPLAYS, STATING, “BEFORE [WE MARRIED IN 1957] ALLAN’S DAD, DAVE, BOUGHT THE BUSINESS WITH HIS THREE SONS…[IT WAS] NATIONAL NEON DISPLAYS LTD.” “IT WAS [AN EXISTING] BUSINESS OWNED BY ANOTHER BROWN…[DAVE] WAS INTERESTED IN IT, SO HE WENT IN AND DID ALL THE LEGWORK TO SEE IF HE COULD MAKE A GO OF IT. OBVIOUSLY, HE DECIDED HE COULD BECAUSE HE [AND THE SONS] BOUGHT IT.” “[ALLAN’S FAMILY] HADN’T BEEN [MAKING SIGNS] BEFORE BUT I PRESUME THEY KNEW THAT THEY COULD MAKE IT GO AND THEY COULD MAKE SIGNS. GRANDPA BROWN SAID THAT HE THOUGHT THEY COULD MAKE IT GO AND THEY DID.” “[ALLAN] DIDN’T THINK THE PLASTIC [SIGNS], WITH JUST THE FACE, WERE AS EYE-CATCHING AS THE NEON SIGNS NOR WERE THEY AS NICE TO LOOK AT WHEN THEY WERE ON. HE REALLY TOOK AN INTEREST IN IT; HE REALLY TRIED TO KEEP IT UP QUITE WELL. THEN HE RETIRED AND WE SOLD TO A MAN FROM CALGARY. I DON’T KNOW WHAT HAPPENED AFTER THAT BUT I THINK NEON PRODUCTS OWNS IT NOW, SO THEY SHUT [THE ORIGINAL] BUILDING DOWN. ALLAN HAD SOLD THE BUILDING AFTER HE RETIRED AND THEN THEY SHUT [THE] BUILDING DOWN AFTER THAT.” “WE HOPED THAT NATIONAL NEON WOULD BE IN PEOPLE’S MINDS AS BEING HERE AND BUILDING THOSE SIGNS…NATIONAL NEON WAS HERE AS A COMPANY AND EXPANDED FROM HERE. [ALLAN] USED TO GO INTO B.C. AND SASKATCHEWAN, TO EDMONTON…TO SELL THEM. IT WASN’T JUST A LOCAL BUSINESS. IT WAS ALL OVER, B.C., SASKATCHEWAN, ALBERTA—AND I THOUGHT IT WAS REALLY INTERESTING THAT THEY’D PICK ONE OF THE FIRST SIGNS THAT [ALLAN] BUILT TO TAKE DOWN AND PRESERVE. I’M SURE [ALLAN] WOULD HAVE BEEN HAPPY WITH THAT.” ON NOVEMBER 28, 2019, MACLEAN INTERVIEWED MIRIAM SMITH AND BOB CRIGHTON REGARDING THEIR MEMORIES OF THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THEIR GRANDFATHER GEORGE CRIGHTON, FATHER JAMES CRIGHTON, AND THEMSELVES. ON THE HISTORY OF THE ALBERTA MEAT MARKET, MIRIAM SMITH RECALLED, “THE CRIGHTON FAMILY MOVED FROM SCOTLAND IN 1920…[GRANDPA CRIGHTON] OPENED THE STORE; HE RAN THE 6TH AVENUE STORE. HE RAISED HIS SONS OUT OF THERE. DAD WAS A BUTCHER IN SCOTLAND; THEY ALL BECOME BUTCHERS. BOBBY LEFT; TOMMY LEFT; DAVEY, HE WAS A BUTCHER; GEORGE WENT TO CAMPBELL RIVER.” “[DAD TOOK OVER THE SHOP ON 6TH AVENUE] ’38, OR ’39.” BOB CRIGHTON ELABORATED, “[DAD] TRIED TO ENLIST, BUT HE HAD THE STORE ON 3RD AVENUE, AND HE WENT BROKE THERE. THAT WAS CALLED CRIGHTON’S MEAT MARKET AT THAT TIME...HE HAD TO PAY ALL OF HIS BILLS OFF, SO MY GRANDPA ASKED HIM TO TAKE OVER THE 6TH AVENUE STORE. SO HE TOOK OVER THE 6TH AVENUE STORE, AND CHANGED IT TO THE ALBERTA MEAT MARKET.” “[WHEN DAD GOT THE NEW NEON SIGN] I REMEMBER HIM PUTTING IT UP. DAD RENOVATED THE STORE AND WE GOT NEW MEAT COUNTERS, AND WHEN HE GOT THE NEW SIGN UP, I WATCHED THEM PUT IT UP. NATIONAL NEON PUT IT UP…I WAS 12-14 YEARS OLD.” MIRIAM SMITH RECALLED, “I WORKED THERE WHEN I WENT TO SCHOOL. I HAD TO ANSWER THE TELEPHONE ON SATURDAYS, OR HOLIDAYS…IT WAS A BUSY STORE. I REMEMBER ALONG 6TH AVENUE AND 5TH STREET, YOU COULDN’T FIND A PLACE TO PARK BECAUSE IT WAS SO BUSY. I REMEMBER, AT LUNCHTIME, I USED TO SAY, 'I’M GOING TO GO FOR MY LUNCH NOW,' AND THERE USED TO BE SILVER’S ACROSS THE STREET. MY DAD WOULD ALWAYS SAY, ‘NO, YOU CAN’T GO. I’VE GOT TO FIX THE COUNTER AND GET MY PARSLEY OUT.' HE ALWAYS HAD HIS COUNTER VERY BEAUTIFULLY DONE.” “THE PHONE WOULD RING OFF THE HOOK, ESPECIALLY [WITH] EVERYBODY WANTING TO ORDER THEIR MEAT. IT WAS PLEASANT VISITING WITH THE DIFFERENT PEOPLE. SOME OF THEM I KNEW; SOME OF THEM I DIDN’T. BUT I FOUND MOST PEOPLE VERY NICE TO CHAT WITH. I REMEMBER MY DAD, AND DORIS HUNT (H.B.HUNT), THE DOCTOR’S WIFE. SHE USED TO COME IN, AND SHE WAS QUITE A BOISTEROUS LADY, AND SHE SPOKE HER MIND. I REMEMBER ONE TIME SHE SAID TO MY DAD, 'JIMMY, THAT ROAST BEEF YOU GAVE ME LAST WEEK WAS TOUGHER THAN HELL.' WELL, MY DAD SAID TO HER, 'YOU KNOW, DORIS, I REMEMBER YOUR HUSBAND TOOK MY APPENDIX OUT, AND THEY COME BACK AGAIN.'" MIRIAM SMITH NOTED, "I REMEMBER THE TIME THAT DAD GAVE THE TURKEY TO THE KID…THE KID HAD NO MONEY, AND HE COME FOR HAMBURGER.” BOB CRIGHTON ELABORATED, “HAMBURGER, AT CHRISTMAS TIME. IT WAS 40 BELOW OUTSIDE, AND HE [CAME] DOWN…HE SAID, ‘I WANT A POUND OF HAMBURGER, MR. CRIGHTON.' [DAD] SAYS, ‘WHAT ARE YOU HAVING FOR CHRISTMAS SUPPER?' 'HAMBURGER.' 'JUST A MINUTE.' SO, [DAD] GETS A TURKEY, AND A HAM, AND SAUSAGE. GOT A BAG FOR HIM, AND HE SAYS, 'THERE – MERRY CHRISTMAS.'" “DAD WAS A PRETTY GENEROUS MAN! WHEN ANDY KERGEN DIED, JUDY [CAME] IN. SHE WAS CRYING. SHE HAD A $200.00 BILL; SHE COULDN’T PAY IT. SHE HAD $5.00 TO PUT ON THE BILL. DAD SAYS, “GIVE ME THE BILL, JUDY.” HE LOOKED AT THE BILL; HE TOOK HIS WALLET OUT AND PAID THE BILL, AND THEN GAVE HER THE RECEIPT.” MIRIAM SMITH CONTINUED, “I ALWAYS REMEMBER WHEN WE WERE KIDS GROWING UP, WE ALWAYS HAD LOTS OF MEAT. WHATEVER WAS LEFT OVER AT THE STORE [WOULD] COME HOME…WE COULD BRING ANYBODY WE WANTED, MOTHER DIDN’T MIND. THE MEAT PLATTER WOULD BE PLACED IN THE MIDDLE OF THE TABLE, AND THE WATER PITCHER. NOBODY WANTED TO SIT BESIDE THE WATER PITCHER, BECAUSE ALL YOU DID WAS POUR WATER.” MIRIAM SMITH NOTED, “[WE, THE CHILDREN, BOUGHT DAD OUT] IN 1965.” ON DECEMBER 11, 2018, MACLEAN INTERVIEWED KEN CRIGHTON, GRANDSON OF JAMES [JIM] CRIGHTON. KEN CRIGHTON WORKED WITH THE FAMILY IN ALBERTA MEAT MARKET. ON HIS MEMORIES OF WORKING IN THE ALBERTA MEAT MARKET, KEN CRIGHTON NOTED, “I WAS THERE EVERY DAY FOR 30 SOME YEARS…MY DAD AND HIS TWO BROTHERS WERE OPERATING IT WHEN I WAS A KID. [I] GOT TOLD TO GET DOWN THERE, AND HELP CLEAN UP; DO SOME CHORES; HELP WITH DELIVERIES; THEN I WORKED INTO LEARNING HOW TO CUT MEAT.” “[MY GRANDFATHER OWNED IT] JAMES ANDERSON CRIGHTON, BUT EVERYONE CALLED HIM ‘JIM’.” “[MY] FIRST MEMORIES OF GOING THERE TO WORK WAS HAVING TO RIDE ON YOUR BIKE, OR WALK FROM SCHOOL RIGHT AFTER SCHOOL, TO HELP CLEAN UP EITHER AT 4 O’CLOCK OR 4:30. IT ALWAYS SEEMED TO ME THAT I WAS DOING THE BULK OF THE WORK, AND THEY WERE DOING MOST OF THE BEER-DRINKING.” “EVERY NIGHT YOU HAD TO EMPTY ALL THE MEAT OUT OF THE COUNTER, COVER IT OVER, TAKE IT, PUT IT IN THE BIG COOLER; TAKE ALL THE PLATTERS OUT OF THE COUNTER, WASH THEM, DRY THEM…EVERYTHING FROM SWEEPING THE FLOOR, TO RAKING THE FLOOR. WE USED TO HAVE SAWDUST ON THE FLOOR TO SOAK UP ALL THE BLOOD AND FAT THAT WOULD FALL DOWN. YOU’D RUN A RAKE THROUGH IT TO PICK UP ALL THE BIG CHUNKS OF GARBAGE, AND THEN TWICE A WEEK YOU’D SWEEP UP ALL THE SAWDUST, AND REPLACE IT WITH FRESH SAWDUST. THAT ENDED WHEN THE HEALTH DEPARTMENT CHANGED…WHEN I WAS ABOUT 12-13, SO THAT WOULD HAVE BEEN 1972.” “[THE SHOP WAS OPEN] SIX DAYS A WEEK. WE WERE ONLY CLOSED, THEN, ON SUNDAYS.” “EVERY DAY, WEEKDAYS AFTER SCHOOL, AND SATURDAYS, I WOULD HELP THE GUY THAT WOULD DO DELIVERIES. WE’D RUN OUT A COUPLE, OR THREE, LOADS OF DELIVERIES TO HOUSES. IT WAS DIFFERENT BACK THEN. WE HAD SOME CUSTOMERS WHO WOULD ORDER THEIR STUFF IN THE MORNING FOR WHAT THEY WANTED FOR LUNCH. THEN THEY PHONE IN THE AFTERNOON, AND ORDER FOR WHAT THEY WANTED FOR SUPPER, WHICH, LATER ON, BECAME THE, “NO, YOU GET ONE DELIVERY A DAY.”” KEN CRIGHTON RECALLED THE LAYOUT OF THE SHOP, STATING, “THE FRONT HALF OF THE BUILDING, WHERE THE CUSTOMERS WERE, WAS PROBABLY ONLY ABOUT THE FIRST THIRD, MAYBE HALF OF THE BUILDING. A GLASS COUNTER/COOLER [WAS] ALONG THE MIDDLE, AND BEHIND IT WAS WHERE WE HAD OUR CUTTING BLOCKS AND SAW. [THERE WAS A] LITTLE COUNTER FOR A PHONE, [A] LITTLE COUNTER TO DO BOOKS ON, [AND] A 6’ WIDE AREA FOR THE CUSTOMERS TO STAND. EVERYTHING WAS SERVED. THERE WAS NO ‘THEM PICKING IT OUT’ AT THE COUNTER. IT WAS ALL DONE AND WRAPPED IN BROWN PAPER BY US.” “ON THE LEFT SIDE, [THERE WAS] A GOOD 15’ TO 20’ WALK-IN COOLER. THEN, ALONG THE WEST WALL, WE HAD A SMALL FREEZER WITH SHELVES. [IT] HAD NINE LITTLE DOORS THAT [OPENED] UP, AND SLIDE TRAYS IN. WHEN YOU’RE DOING FREEZER BEEF ORDERS, YOU’D USE THAT TO FREEZE THEM UP. [THERE WAS] A LITTLE WALK-IN FREEZER TO HOLD THE BOXES, PROBABLY ONLY 3’ BY 6’. [THERE WAS] A COUNTER [AT] THE BACK END, WITH A STOVE, THAT WE WOULD USE TO COOK UP CORNED BEEF, [AND] A FEW OTHER COLD MEATS.” “WE HAD A DOUBLE DOOR ON THE SIDE THAT WENT TO THE ALLEY, THAT WE WOULD BRING THE STUFF IN OFF THE TRUCK. USUALLY IT WAS TUESDAYS AND THURSDAYS, WE WOULD GET THE BIG ORDERS OF HANGING BEEF IN. WE HAD TWO HUGE 2’ BY 6’ PIECES OF WOOD THAT WERE ON BIG HOOKS THAT WERE PROPPED UP IN THE ATTIC. THEN YOU WOULD HANG YOUR BIG MEAT HOOKS ON THEM. YOU COULD GET 8 HIND QUARTERS, AND 6-8 FRONT QUARTERS HANGING UP IN THERE. ONE DAY WAS THE DAY YOU WOULD BREAK THEM DOWN INTO PIECES, AND THEN PUT THEM INTO THE COOLER, OR SAVE THE QUARTERS IF YOU HAD A WHOLE QUARTER FOR A FREEZER ORDER.” “[I LEARNED THE TRADE] MOSTLY BY WATCHING…BY THE TIME I WAS 15-16, [I WAS] IN THERE DOING EVERY SINGLE THING THEY’RE DOING: RUNNING THE BAND SAW, THE GRINDER, MIXING UP BURGERS, MAKING PATTIES, THE WHOLE DEAL. [I] DIDN’T REALLY GET TO SERVE CUSTOMERS TILL [I WAS] OLDER. A LOT OF THE CUSTOMERS, EVEN THEN, DIDN’T WANT ME SERVING THEM, [THEY] WANTED THE OLD MAN, OR ONE OF THE OLDER GUYS. I’M SURE LOTS OF FAMILY BUSINESSES RUN INTO THAT, WHERE THE OLD-TIME CUSTOMERS ONLY WANT THE OLDER PEOPLE LOOKING AFTER THEM.” “[THE SHOP DID WELL] I THINK BECAUSE, PROBABLY A LOT OF REPUTATION, AND PERSONALIZED SERVICE. BUT, AFTER A WHILE, IT GOT TO BE THAT YOU WERE RUNNING INTO A LOT OF PEOPLE THAT WOULD WANT YOUR QUALITY/YOUR SERVICE BUT AT THE SAME SALE PRICE THAT THE BIG STORES WOULD HAVE. THAT WAS THE FRUSTRATION OF IT…I WOULD SAY PROBABLY 90% OF THE CLIENTELE WERE REPEATS, AND YOU HAD YOUR STEADY CORE CUSTOMERS…THEY WOULD GET WHAT THEY LIKED.” “[IN THE 1980S] THERE WAS MYSELF, DAD, [AND] HE HAD TWO OTHER YOUNGER PEOPLE WORKING, ONE NAMED LEN, WHO WAS CUTTING MEAT, AND ANOTHER [WOMAN] NAMED IDA, WHO CUT. BUSINESS STARTED TO TAPER OFF THEN. HE LAID OFF IDA, AND THEN ME, AND LEN, AND DAD WOULD PRETTY WELL OPERATE THE WHOLE SHOW. THAT WAS ABOUT 1990.” “[DAD] WAS VERY, I THINK, ASTUTE AT THE BUSINESS…[HE] HAD TO BE, BECAUSE THAT WAS THEIR LIVING. THEY HAD NOTHING ELSE TO FALL BACK ON. [HE HAD TO] MAKE IT WORK. HE WAS REALLY GOOD WITH THE CUSTOMERS. HE ENJOYED SERVING THE CUSTOMERS MORE THAN THE GRUNT WORK IN THE BACK. HE COULD DO IT, BUT HE PREFERRED BEING UP FRONT, WORKING WITH THE PEOPLE. ME AND MY UNCLE RON COULD STAY IN THE BACK ALL DAY. I COULD STAND THERE AT THAT BLOCK, AND WE COULD CUT MEAT 8 HOURS STRAIGHT. [IT] WOULDN’T BOTHER US. I COULD HANDLE SERVING THE CUSTOMERS, BUT I PREFERRED JUST WORKING.” “[BUSINESS] REALLY STARTED DECLINING…I REALLY NOTICED IT AROUND 2008, 2009. FOR THE LAST WHILE, [I] JUST HAD MYSELF AND ONE OTHER YOUNG FELLOW, GARRY, WORKING THERE. IT WAS TO THE POINT WHERE YOU COULDN’T MAKE ENOUGH SALES TO AFFORD ANOTHER PERSON, BUT IT WAS TOO BUSY FOR ONE. GARRY WAS STARTING TO HAVE A FAMILY, AND NEEDED MORE MONEY. HE LEFT TO GO WORK SOMEWHERE ELSE. SO, I HUNG ONTO IT, AND JUST DID IT ALL BY MYSELF FOR THE LAST FOUR YEARS. BEING THE ONLY GUY THERE, EVERY HOUR OF EVERY DAY, FOR TEN HOURS A DAY, STARTED TO GET TO ME. IT GOT TO THE POINT WHERE, IN 2011, EARLY 2012, I JUST THOUGHT, “THERE’S NO POINT IN WORKING LIKE THIS, AND NOT MAKING ANYTHING. I MIGHT AS WELL DO NOTHING, AND MAKE THE SAME AMOUNT.”” KEN CRIGHTON SOLD ALBERTA MEAT MARKET IN 2012. MIRIAM SMITH SPOKE TO HER THOUGHTS ON THE SIGN BEING DONATED TO THE GALT MUSEUM, NOTING, “I’M VERY HAPPY. I THINK IT’S A GOOD PLACE FOR IT, AND I THINK KENNETH, AND EVERYBODY FEELS THAT WAY.” KEN CRIGHTON CONFIRMED, “I’M ECSTATIC! I WOULD RATHER IT BE HERE. OUR WHOLE FAMILY’S LOST OUR IDENTITY/ERASED [IT] BY HAVING IT JUST THROWN AWAY. ON THE OTHER HAND, I DIDN’T WANT IT STILL ON THE BUILDING, [WITH] THE BUILDING BEING USED FOR A DIFFERENT PURPOSE, AND HAVING THE NAME ASSOCIATED. [IT] FELT LIKE THE NAME BELONGED TO THE CRIGHTON’S MORE THAN THE COMMUNITY, OR WHOEVER OWNED THE BUILDING.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, FAMILY OBITUARIES, AND ARTICLES FROM THE LETHBRIDGE HERALD, PLEASE SEE THE PERMANENT FILE P20180025000-GA.
Catalogue Number
P20180025000
Acquisition Date
2018-11
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 INTERVIWEED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MELISSA MALKAS, FLAIG RECALLED, “MY BROTHERS AND I HAD MET [MELISSA MALKAS]. WE THOUGHT HIGHLY OF HER AS AN ARTIST, [AND] AS A PERSON. I BELIEVE SHE’S NOT AROUND IN TOWN ANY MORE, BUT SHE WAS PART OF THAT RURAL SCENE, WHERE YOU HAD A GREAT AMOUNT OF FREEDOM.” “I JUST [HAD], I BELIEVE, TWO OF MELISSA’S PIECES, THE PAINTING [WAS ONE], WHICH IS VERY BIG, BEAUTIFUL, AND PRETTY. ON THE BACK IT SAYS ‘AFTER CALGARY’. I’M NOT SURE WHAT THAT MEANS.” “[WE MET THE MALKAS’S] ONCE WE MOVED OUT TO BROXBURN. I DON’T KNOW IF THEY MOVED IN BEFOREHAND. THEY WERE [OUR] NEIGHBORS. MOM WAS RAISED ON A FARM IN SASKATCHEWAN, AND [MY PARENTS] KNEW HOW TO REACH OUT TO THE NEIGHBORS, AND MAKE FRIENDS, AND TAKE FOOD OVER AND VISIT…THEY WERE ALWAYS OUT VISITING.” “I KNOW [MY PARENTS] WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” “I LEARNED LATER, THAT [MY MOTHER’S LOVE OF ART] WAS BORN OUT OF HER DESIRE TO BRING ART TO HER SISTER, FERN, WHO HAD A BRAIN ANEURYSM WHEN SHE WAS ABOUT FIFTEEN YEARS OLD. [FERN] SPENT MANY YEARS IN HOSPITAL IN LABRECQUE, IN SASKATCHEWAN, BUT [MOM] NEVER GOT THERE; NEVER GOT THE PAINTINGS OUT THERE. THE ART WORK IS, IN SOME WAYS, CRUDE. THERE ARE NO SHADOWS; THE PEOPLE ARE KIND OF LUMPY; THE COLORS ARE BRIGHT, AND ALL THESE SCENES REPRESENT SOMETHING OF HER LIFE AS A YOUNG GIRL ON A FARM, IN SASKATCHEWAN, AND HOW HARD IT MUST HAVE BEEN. THERE IS A LOT OF FEELING IN EACH ONE OF HER PAINTINGS. MANY OF THEM WE’LL NEVER KNOW THE STORIES, BUT THEY’RE ALL COUCHED IN STORIES. I HAD NO IDEA EITHER, UNTIL JUST NOW, HOW PROLIFIC SHE WAS; HOW MANY PAINTINGS SHE MUST HAVE DONE. I THINK IT WAS A CATHARSIS FOR HER, BUT ALSO REPRESENTATIVE OF THEIR LIVES, GROWING UP ON A FARM IN SASKATCHEWAN—THE ISOLATION, THE COLD, THE STRIFE AMONGST THE FAMILY, THE DIFFICULTY OF HER PARENTS HOLDING A MARRIAGE TOGETHER, AND THEIR DESPERATION, WITH SEVEN KIDS, TO GET OFF THE FARM AND GET OUT OF THERE, AND MAKE SOMETHING. IT’S A HERITAGE – HER PAINTINGS, AS ARE THESE HERE. YOU JUST LOOK AT THEM AND WONDER HOW IT IS THAT AN ARTIST CAN VISUALIZE THIS, AND PUT SO MUCH FEELING INTO EACH PIECE. THE LIGHT, THE FACIAL EXPRESSION, THE SUGGESTION OF A LINE, SOMETHING SIMPLE…SOMEBODY JUST [DAUBED] THE PAINT ON THERE, GLOBS THE YELLOW OF THE TREES. THERE’S SOMETHING THERE THAT—IT’S A HERITAGE. I [HEARD IN A MOVIE] ART IS THE TRUTH THAT WE HAVE EXISTED. THESE PEOPLE EXISTED. MOM, THE LIFE THEY HAD, WILL BE FORGOTTEN, BUT IT WAS THERE. NOW, AS OUR SUCCEEDING GENERATIONS, WE HAVE THE LIFE WE HAVE BECAUSE OF WHAT THEY WENT THROUGH. THE RICHNESS OF THEIR LIFE, WE CAN NEVER REPAY IT, BUT WE CAN HOPE TO PROFIT FROM IT.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’S. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” “MOM AND DAD RAISED US AS SORT OF ‘FREE RANGE’ KIDS, AND THAT CARRIED ON OUT ON THAT FIVE ACRE LITTLE FARM-ETTE. WE COULD PRETTY MUCH DO ANYTHING, AND EXPERIMENT. WE ALWAYS HAD WOODWORKING TOOLS, AND TOOLS OF ALL KINDS IN THE BASEMENT ON HENDERSON LAKE BOULEVARD, AND LOTS TO MESS AROUND WITH. IF IT WASN’T ASTRONOMY, IT WAS POETRY, IT WAS WRITING, IT WAS ART, IT WAS BUILDING SOMETHING, OR FIXING SOMETHING UP THERE. IT WAS A STYLE OF LIFE THAT, IN REFLECTION, IT WAS QUITE A GIFT, QUITE A LEGACY TO US CHILDREN.” “THEY [BUILT] THE HOUSE ON HENDERSON LAKE BOULEVARD, I THINK IT WAS THE SECOND OR THIRD HOUSE ON HENDERSON LAKE BOULEVARD. ACROSS THE STREET WAS BALD PRAIRIE AT THE TIME, SO WE COULD JUST RUN AROUND.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD, MORE OR LESS, AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THEY WERE HAVING TROUBLE WITH AGE-RELATED DISEASE, AND BECOMING FORGETFUL, AND THEY HAD TO MOVE INTO TOWN. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” “IF I HAD A BIGGER HOUSE, IF I HAD MORE ROOM, IF I WAS A VISUAL ARTIST, THEN THERE’D BE NO QUESTION THEY’D BE UP SOMEWHERE, NO MATTER WHO SAID WHAT. I HAVE A FAIR NUMBER ALREADY ON THE WALLS AT HOME, AND AS THESE ARE THINGS THAT ARE FAMILIAR TO ME, ARRAIGNED WITH MY YOUTH, AND WITH MY PARENTS BEING ARTISTS. HOWEVER, THEY WILL NOT SURVIVE IF DON’T BRING THEM HERE. WE JUST WON’T KEEP THEM, AND NOBODY IN MY FAMILY IS INTERESTED IN THEM. SO, NOT DOING ART, I GUESS IT’S GOOD THAT THEY’RE HERE. WHAT AM I GOING TO DO, JUST STACK THEM UP AGAINST THE WALL? THEY EVENTUALLY WILL PERISH.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, MELISSA MALKAS WAS A SECOND GENERATION LETHBRIDGE ARTIST, THE DAUGHTER OF IRMA MALKAS (RODOWITZ) AND EGON MALKAS. MELISSA MALKAS GRADUATED FROM THE UNIVERSITY OF CALGARY IN 1986 WITH A DEGREE IN FINE ARTS, AND ALSO ATTENDED THE UNIVERSITY OF LETHBRIDGE. DURING HER CAREER, MALKAS EXHIBITED AT THE BOWMAN ARTS CENTRE WITH THE ALLIED ARTS COUNCIL OF LETHBRIDGE. MELISSA MALKAS EXHIBITED AS A SOLO ARTIST, AND WITH HER MOTHER IN 1996 AND 2003 AT THE BOWMAN ARTS CENTRE. MALKAS WAS AN INSTRUCTOR AT THE BOWMAN ARTS CENTRE FOR THE LETHBRIDGE ARTISTS CLUB IN 2005 AND 2010, TEACHING COURSES IN MIXED MEDIA WATERCOLOUR AND OILS. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006004
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
TIN, INK
Catalogue Number
P20180004000
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Materials
TIN, INK
No. Pieces
1
Length
30.6
Width
25.8
Description
METAL SIGN WITH DOUBLE-SIDED PRINTING ON LIGHT BROWN BACKGROUND. SIGN SHOWS BLACK SQUARE BACKGROUND WITH RED TRIM AND LIGHT BROWN TEXT WITH RED TRIM READING “AGENT FOR THE LETHBRIDGE HERALD HERE, THE LETHBRIDGE HERALD SERVES THE SOUTH”; SIGN HAS SMALL BLACK TEXT PRINTED AT BOTTOM RIGHT CORNER “TMOS. DAVIDSON MFG. CO. LTD. MONTREAL”. BACK OF SIGN IS PRINTED THE SAME. SIGN HAS PAPER TAG FIXED WITH BROWN CORD TO HOLE PUNCHED IN SIDE; TAG IS DISCOLORED WHITE AND HAS BLACK HANDWRITTEN TEXT “DAN, LETHBRIDGE HERALD SIGN, $349.95, $250 KEVIN”. BACK OF TAG HAS HANDWRITTEN BLACK TEXT “SOLD” WITH UNDERLINE. SIGN HAS JAGGED METAL EDGE BENT DOWN ON LEFT SIDE; SIGN IS RUSTED FRONT AND BACK AND FADED; SIGN IS SCRATCHED IN FRONT UPPER RIGHT CORNER AND CORRODED LOWER LEFT CORNER. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
PROFESSIONS
History
ON MARCH 19TH, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONTACTED DAN PLOURDE, THE "AGENT FOR...HERALD" SIGN'S SELLER. THE SIGN WAS PURCHASED BY THE GALT MUSEUM AT URBAN PRAIRIE ANTIQUE MALL ON MARCH 21, 2018. PLOURDE, A PICKER, LEASES MALL SPACE AT URBAN PRAIRIE AS A LOCATION TO SELL HIS PICKS. PLOURDE TOLD MACLEAN THAT THE HERALD SIGN CAME FROM A RURAL PROPERTY NEAR CHIN LAKE. THE RURAL LOCATION FEATURED "QUONSETS" FULL OF OTHER ITEMS, INCLUDING GAS MEMORABILIA AND FURNITURE. THE ORIGINAL OWNER OF THE SIGN, WHO LIVED AT THE PROPERTY, WAS, SAID PLOURDE, NO LONGER LIVING. THE OWNER, CONTINUED PLOURDE, CONDUCTED HIS OWN PICKING "IN BACK ALLEYS IN LETHBRIDGE 60 YEARS AGO". PLOURDE ATTEMPTED TO SELL THE SIGN IN FORT MACLEAD BEFORE RECOGNIZING THAT ITS MARKET WAS GREATER IN LETHBRIDGE. FOR COPIES OF INFORMATION REGARDING THE SIGN, PLEASE SEE THE PERMANENT FILE P20180004000-GA.
Catalogue Number
P20180004000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Date Range From
1880
Date Range To
1890
Material Type
Artifact
Materials
COTTON, LEATHER, GLASS
Catalogue Number
P20170002000
  2 images  
Material Type
Artifact
Date Range From
1880
Date Range To
1890
Materials
COTTON, LEATHER, GLASS
No. Pieces
1
Length
103.2
Width
5
Description
BEADED BELT WITH A GEOMETRIC PATTERN SET AGAINST A GREEN BEADED BACKGROUND. PATTERN ALTERNATES BETWEEN TWO MIRRORED BLACK, YELLOW, BLUE TRIANGLES WITH THEIR BASES AT EITHER WIDTH END OF THE BELT MEETING IN THE CENTER AT THEIR POINTS AND LARGE RED AND BLUE WITH A GREEN CENTERED TRIANGLES WITH THEIR BASE AT ONE WIDTH END AND THEIR POINTS EXTENDED TO THE OPPOSING END. BEADS ARE SEWN INTO A COTTON, CANVAS FABRIC. TWO ANIMAL HIDE TIES (EACH A DIFFERENT LENGTH FROM 6.2 TO 11.8) ON EACH END AT EACH CORNER OF BELT. BACK SIDE IS RAW FABRIC WITH SEAM AT CENTER CONNECTING THE TWO HALVES. ENDS ARE HEMMED WITH TIES SEWN TO THE OUTSIDE. CONDITION: SEVERE DISCOLOURATION TO FABRIC BACKING AND SEVERE WEAR TO ANIMAL HIDE TIES. MANY LOSS THREADS OVER ENTIRE SURFACE OF BACK. BEADS AND BEADING IN EXCELLENT CONDITION OVERALL.
Subjects
INDIGENOUS
Historical Association
ETHNOGRAPHIC
History
UPON THE DONATION OF THIS BELT TO THE GALT MUSEUM, THE DONOR – PATRICIA LYNCH-STAUNTON – EXPLAINED THAT THIS BELT BELONGED TO ALFRED HARDWICH LYNCH-STAUNTON, WHO SERVED IN THE ROYAL CANADIAN MOUNTED POLICE IN FORT MACLEOD. HE RANCHED IN THE LUNDBRECK AREA AND SUPPLIED HORSES TO THE MOUNTIES. THE DONOR SAID THAT SHE HAD “NO KNOWLEDGE OF HOW [ALFRED HARDWICK] CAME INTO POSSESSION OF THE BELT. A NOTE ON THE INITIAL DOCUMENTATION ATTRIBUTES THE DATE OF THIS BELT TO CA. 1880-1890. THE ACTING CURATOR OF THE NATIVE NORTH AMERICAN DEPARTMENT OF THE GLENBOW, JOANNE SCHMIDT, AGREED WITH THE DONOR’S BELIEF THAT THE BELT WAS BLACKFOOT. THROUGH THE COMPARISON OF THE BEADED MOCCASINS AND BELTS IN THE GLENBOW’S COLLECTION WITH THIS BELT, SCHMIDT EXPLAINED THAT THE DESIGN ON THE BELT WAS MOSTLY FOUND ON THOSE FROM SIKSIKA, BUT SHE HAS ALSO SEEN THE DESIGN IN PIIKANI AND KAINAI BEADWORK THOUGH THERE ARE NOT MANY EXAMPLES IN THE COLLECTION. ALSO BY USING THE GLENBOW’S COLLECTION AS A POINT OF REFERENCE, THE CURATOR BELIEVES THAT THE BELT IS SIMILAR IN APPEARANCE TO THOSE OF THE 19TH CENTURY TO EARLY 20TH-CENTURY MUSEUM HOLDINGS. SCHMIDT ALSO PROVIDED AN EXPLANATION OF THE DESIGN FROM THE CANADIAN MUSEUM OF HISTORY. IT STATES, “ONE OF THE EARLIEST DESIGNS USED WAS ‘MIISTA-TSIKA-TUKSIIN,’ OR MOUNTAIN DESIGN. OTHER DESIGNS INCLUDED SQUARES, DIAMONDS, BARS, SLOTTED BARS AND STRIPES… TODAY SUCH DESIGNS ARE CALLED ‘MAAH-TOOHM-MOOWA-KA-NA-SKSIN,’ OR FIRST DESIGNS.” IT WAS FURTHER EXPLAINED THAT A COMPLICATING FACTOR IN IDENTIFYING THE BELT’S ORIGINS IS THE FACT THAT THE BLACKFOOT TENDED TO USE WHITE OR BLUE AS THE BACKGROUND COLOUR, NOT GREEN AS IS PRESENTED IN THE LYNCH-STAUNTON DONATION. ON 19 JANUARY 2017, MUSEUM STAFF FURTHER CONSULTED WITH RYAN HEAVY HEAD, FORMER DIRECTOR OF KAINAI STUDIES AT RED CROW COMMUNITY COLLEGE, REGARDING THE BELT’S DESIGN. HE EXPLAINED, “THE GREEN BACKGROUND IS ATYPICAL OF BLACKFOOT BEADWORK, WHICH IS NORMALLY BLUE. THE ‘MOUNTAIN DESIGN’ [DISPLAYED ON THE BELT] IS A COMMON MOTIF IN BLACKFOOT BEADWORK, BUT AGAIN THE COLOURS ARE NOT TYPICAL IN THIS EXAMPLE.” RYAN SPECULATED THAT DURING THE TIME OF DISEASE (WHEN THIS BELT APPEARS TO HAVE ORIGINATED) THERE WAS SOME DISRUPTION IN TRADITIONAL LIFE AND THAT COULD BE REFLECTED IN THE COLOUR CHOICES. ALTERNATIVELY, THE BELT MAY HAVE BEEN MADE BY THE GROS VENTRES FROM NORTHEAST MONTANA. THE DONOR, PATRICIA LYNCH-STAUNTON, IS THE GREAT-GRANDDAUGHTER OF ALFRED HARDWICK LYNCH-STAUNTON. THIS BELT WAS PASSED DOWN THROUGH THE FAMILY, FIRST FROM A. H. LYNCH-STAUNTON, THEN TO THE DONOR’S GRANDFATHER, F. C. LYNCH-STAUNTON, THEN TO HER FATHER, A. G. LYNCH-STAUNTON, FINALLY TO THE DONOR WHO BROUGHT IT TO THE MUSEUM. THE FOLLOWING INFORMATION COMES FROM THE “A. H. LYNCH-STAUNTON FAMILY HISTORY” WRITTEN FOR THE MUSEUM USING ONLINE SOURCES, THE GLENBOW ARCHIVES, AND THE BOOK TITLED “HISTORY OF THE EARLY DAYS OF PINCHER CREEK AND SOUTHERN MOUNTAINS OF ALBERTA.” “ALFRED HARDWICK LYNCH-STAUNTON (1860-1932) WAS BORN IN HAMILTON, ON AND CAME TO FORT MACLEOD IN 1877 TO JOIN THE NWMP. ACCORDING TO THE PINCHER CREEK HISTORICAL SOCIETY, HE WAS SENT TO ESTABLISH A HORSE BREEDING FARM AT PINCHER CREEK IN 1878. AFTER RETIRING FROM THE NWMP IN 1880, LYNCH-STAUNTON STATED THE FIRST CATTLE RANCH IN THE PINCHER CREEK AREA WITH JAMES BRUNEAU AND ISSAC MAY, AND LATER HOMESTEADED WEST OF TOWN. ALONG WITH HIS RANCH, LYNCH-STAUNTON MARRIED SARAH MARY BLAKE (1864-1933) IN 1890 AND THEY HAVE FIVE CHILDREN: VICTORIA, FRANDA, FRANCIS, JOHN, AND D’ARCY… A.H.’S BROTHER RICHARD LYNCH-STAUNTON (1867-1961) CAME AS FAR WEST AS MEDICINE HAT IN 1883 WITH HIS FATHER, F. H. LYNCH-STAUNTON, WHO WAS IN CHARGE OF THE SURVEY PARTY. RICHARD CAME WEST AGAIN, TO PINCHER CREEK, IN 1885 OR 1886. IN ABOUT 1900, HE ACQUIRED LAND NORTH OF LUNDBRECK, ON TODD CREEEK, WHICH BECAME THE ANTELOPE BUTTE RANCH. RICHARD AND A. H. WERE IN PARTNERSHIP FOR A NUMBER OF YEARS IN CATTLE-RANCHING AND, ACCORDING TO THE DONOR, WITH THE BUTCHER SHOP. IN 1901, RICHARD MARRIED ISABELLE MARY WILSON (1868-1971), AND THEIR SON FRANK LYNCH-STAUNTON (1905-1990), ALBERTA’S 11TH LIEUTENANT GOVERNOR FROM 1979 TO 1985. LYNCH-STAUNTON DESCENDANTS CONTINUE TO RANCH IN THE LUNDBRECK/PINCHER CREEK AREA.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING CORRESPONDENCE WITH DONOR AND PEOPLE CITED IN ABOVE HISTORY.
Catalogue Number
P20170002000
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
"FRANK... DOMINION AVE. FRANK SLIDE 1903" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031001
  1 image  
Material Type
Artifact
Other Name
"FRANK... DOMINION AVE. FRANK SLIDE 1903" - IRENE MCCAUGHERTY
Date
1984
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
29.6
Length
57.8
Width
2.1
Description
“FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903” PAINTING, WATERCOLOUR/INK – LANDSCAPE (RECEDING ROAD/MOUNTIAN), “IRENE MCCAUGHERTY”, 1984. A FRAMED WATERCOLOUR WITH INK LINE DRAWING AND ACRYLIC HIGHLIGHT, UNDER A MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 4.6 CM LENGTH AND 16.5 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS A RECEDING ROAD, LINED ON BOTH SIDES WITH BUILDINGS, FIGURES LOOKING OUT THE TOP WINDOWS. IN THE BACKGROUND LIES MOUNTAINS AND A ROCKSLIDE WHILE IN THE CENTER FOREGROUND TWO FIGURES RUN ACROSS THE ROAD. THE PAINTING IS PRIMARILY GREY WASHES, PALE GREEN, BLUE, YELLOW, AND ORANGE USED IN THE BUILDINGS. IN THE BOTTOM LEFT CORNER THE PAINTING IS TITLED AND SIGNED “FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903 IRENE MCCAUGHERTY 1984” IN BLACK INK, THE WORDS “FRANK SLIDE” WRITTEN WITH A THICKER PEN. THE FRAME IS A THIN SILVER METAL WITH A WIRE HANGER ON THE BACK. THE MAT IS GREY, WITH A CUT OUT FRAME MEASURING 1.9CM WIDE AROUND THE SIGHT EDGE OF THE PAINTING. THE PAINTING HAS CREASES THROUGH ITS CENTER, LIKELY FROM BEING FOLDED IN HALF BEFORE FRAMING.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” “[THIS PAINTING OF THE] FRANK SLIDE,” MCCAUGHERTY SAID – WHILE LOOKING AT THE PAINTING TITLED, “FRANK ALTA. (N.WT) DOMINION AVE FRANK SLIDE 1903,” “[IS ONE] I’M SURPRISED DIDN’T GO SOONER, BECAUSE IT’S A PART OF HISTORY AND QUITE A WELL-KNOWN PART.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031001
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"THE ARCH, SPRING CHINOOK" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031002
  1 image  
Material Type
Artifact
Other Name
"THE ARCH, SPRING CHINOOK" - IRENE MCCAUGHERTY
Date
1989
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
36.2
Length
47.7
Width
1.8
Description
“THE ARCH SPRING CHINOOK” PAINTING, WATERCOLOUR/INK - LANDSCAPE (SNOW BALL FIGHT), “IRENE MCCAUGHERTY”, 1989. A FRAMED WATERCOLOUR WITH INK LINE DRAWING AND ACRYLIC HIGHLIGHTS, UNDER A TWO LAYERED MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 26.7 CM LENGTH AND 13.9 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS THREE HOUSES UNDERNEATH A LAYER OF SNOW, WITH FIGURES IN THE FOREGROUND CREATING SNOWMEN AND HAVING A SNOWBALL FIGHT. THE PAINTING IS PRIMARILY BARE WHITE PAPER, WITH A BLUE, GREY WASH OF THE SKY. THE THREE HOUSES ARE YELLOW, PINK, AND BLUE, THE FIGURES PRIMARILY RED AND BLACK. IN THE BOTTOM RIGHT CORNER THE PAINTING IS TITLED AND SIGNED “THE ARCH SPRING CHINOOK IRENE MCCAUGHERTY 1989” IN BLACK INK. THE FRAME IS A THIN SILVER METAL WITH A WIRE HANGER ON THE BACK. THE TOP MAT IS WHITE, WITH A YELLOW EDGE AND THE BOTTOM MAT PALE BLUE WITH A YELLOW EDGE. THE GLASS OF THE FRAME IS SCRATCHED, ABOVE THE MAT.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” “NOW THIS IS SOMETHING,” MCCAUGHERTY EXCLAIMED AS HE LOOKED AT THE WORK TITLED, “THE ARCH SPRING CHINOOK,” “KIDS PLAYING OUT IN THE SNOW. [IT REMINDS ME OF] WHERE I WENT TO A SMALL SCHOOL. WE WENT OUTSIDE AND PLAYED IN THE SNOW. IT WAS EXPECTED THAT THAT WAS WHAT YOU WERE GOING TO DO. SCHOOLS WEREN’T THAT BIG. THIS WOULD BE GRADES ONE TO GRADE NINES IN THE SAME SCHOOL.” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031002
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Material Type
Artifact
Materials
WATERCOLOUR, PAPER, GLASS
Catalogue Number
P20160031003
  1 image  
Material Type
Artifact
Other Name
"EASTER SUNDAY 1907" - IRENE MCCAUGHERTY
Date
1982
Materials
WATERCOLOUR, PAPER, GLASS
No. Pieces
1
Height
40.5
Length
74
Width
2.7
Description
“EASTER SUNDAY 1907” PAINTING, WATERCOLOUR/INK – LANDSCAPE (HOUSES/HORSE CARRIAGES), “IRENE E. MCCAUGHERTY”, 1982. A FRAMED WATERCOLOUR PAINTING WITH INK LINE DRAWING, UNDER A TWO LAYERED MAT. THE SIGHT EDGE OF THE PAINTING MEASURES 53.8 CM LENGTH AND 19 CM HEIGHT WITHIN THE FRAME. THE PAINTING DEPICTS A STREET, FRAMED BY SIDEWALKS, WITH A COLLECTION OF HOUSES IN THE BACKGROUND WITH A CHURCH WITHIN THEM. THE SCENE IS FULL OF FIGURES, MEN IN BLACK, WOMEN IN COLOURED DRESSES, AND FIVE HORSE CARRIAGES TRAVELLING THE ROAD. THE PAINTING IS PRIMARILY GREY AND GREEN-BLUE WASHES, WITH GREEN, YELLOW, BLUE, AND BROWN COLOURS IN THE LINE OF HOUSES IN THE MIDDLE. IN THE BOTTOM LEFT CORNER THE PAINTING IS TITLED AND SIGNED “EASTER SUNDAY 1907 IRENE E MCCAUGHERTY 1982” IN BLACK INK. THE WOODEN FRAME IS GREY AND A REDDISH-BROWN WITH A WIRE HANGER ON THE BACK. THE MAT MIRRORS THE COLOUR SCHEME OF THE FRAME, PALE GREY ON THE TOP LEVEL, PALE REDDISH-BROWN ON THE BOTTOM. THE TWO PIECES OF THE FRAME THAT MEET AT THE TOP RIGHT HAND CORNER ARE SPLIT FROM EACH OTHER.
Subjects
ART
Historical Association
FINE ARTS
History
A COLLECTION OF EIGHT WATERCOLOURS BY IRENE MCCAUGHERTY WERE DONATED TO THE GALT MUSEUM BY HER SON, RONNIE MCCAUGHERTY. EARLY ACQUISITION RECORDS OF MCCAUGHERTY’S WORK DISPLAY THE FOLLOWING ARTIST BIOGRAPHY: “IRENE MCCAUGHERTY WAS AN ARTIST, POET, AND WRITER. SHE WAS BORN IN HARDIEVILLE ON NOVEMBER 27, 1914. SHE LIVED IN FORT MACLEOD, ALBERTA MOST OF HER LIFE. IT WAS THERE THAT MCCAUGHERTY PAINTED AND WROTE ABOUT SOUTHERN ALBERTA’S PIONEER DAYS. SHE PUBLISHED THREE BOOKS WITH HER POETRY, STORIES, AND PAINTINGS THAT ILLUSTRATE LETHBRIDGE’S PAST THROUGH HER MEMORIES. MANY RURAL NEWSPAPERS PUBLISHED HER WRITING REGULARLY. IN 1994, SHE WAS WELCOMED AS AN HONORARY MEMBER OF THE ALBERTA SOCIETY OF ARTISTS. IN 1995, THE UNIVERSITY OF LETHBRIDGE PRESENTED MCCAUGHERTY WITH AN HONORARY DOCTOR OF LAWS DEGREE FOR HER WORK TO PRESERVE THE HISTORY OF SOUTHERN ALBERTA. SHE WORKED WITH ALL THREE ARTS FROM 1950 UNTIL THE END OF HER LIFE, IN 1996.” FOR THIS PARTICULAR ACQUISITION OF WORKS, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE ARTIST’S SON, RONNIE MCCAUGHERTY. THIS INTERVIEW TOOK PLACE AT THE MUSEUM ON SEPTEMBER 22, 2017. INFORMATION FROM THAT INTERVIEW FOLLOWS BELOW: “I HAVE NO IDEA HOW MANY PAINTINGS MY MOTHER HAD DONE,” MCCAUGHERTY BEGAN, “BEFORE SHE PASSED AWAY WE FORMED A COMPANY. THAT CUT DOWN ON A LOT OF PROBLEMS AS FAR AS KEEPING THE ARTWORK AROUND AND ONE OF HER WISHES [FOR THE COMPANY] WAS TO START DONATING IT…[I’M DISPERSING THE COLLECTION NOW, BECAUSE] I DON’T REALLY HAVE GOOD STORAGE SPACE, BECAUSE WE DOWNSIZED. WHEN WE WERE IN COALDALE, I HAD THEM STORED IN THOSE BIG METAL CABINETS. WHEN ANYONE WANTED TO SEE SOMETHING YOU HAD TO FISH THROUGH THE WHOLE THING.” “[MY MOM PAINTED] EVERY DAY… [PAINTING IS] WHAT GOT HER UP EVERY DAY… SHE DIDN’T START PAINTING UNTIL LATER ON IN LIFE. AND IT WAS THERAPY, BECAUSE BETWEEN HER AND MY DAD, THERE WASN’T A GREAT DEAL OF GOOD FEELINGS,” MCCAUGHERTY CONTINUED, EXPLAINING HOW OFTEN HIS MOTHER PRACTICED HER ART, “[THERE IS A LARGE] NUMBER OF PICTURES THAT SHE DREW THAT HAVEN’T BEEN PAINTED. I DON’T KNOW HOW MANY HUNDRED PICTURES THAT I’VE DONATED TO DIFFERENT KIND OF PLACES. IT’S A LOT… SHE HAD HER SCHEDULE [TO WORK ON HER ART], WHERE SHE WOULD BE AT IT FOR SO LONG… [THE SUBJECT MATTER SHE FOCUSED ON IN HER PAINTINGS,] KIND OF WENT IN CYCLES. SHE STARTED DOING THOSE EXTRA LARGE ONES OF DANCING. PEOPLE ARE NOW STARTING TO LIKE THOSE. I QUESTIONED WHEN SHE DID THOSE, BECAUSE SHE WOULD PRINT ON THERE WHAT THE SONG WAS AND IN A WAY THIS MADE A COMIC OUT OF IT, BUT IT DID TELL THE STORY. ALL THE NAMES CHANGED [DEPENDING] ON WHAT SCHOOL IT WAS [SET IN, BUT] AS FAR AS THE SUBJECT MATTER, IT WAS THE SAME… IN HER TIME [DANCING] WAS THE BIG THING, THE WEEKEND DANCE AT THE DIFFERENT SCHOOLS. I REMEMBER THAT TOO: GOING TO THE COUNTRY DANCES; THE BANJO OUT OF TUNE, BUT PLAYING IT; SOMEBODY POUNDED ON THE PIANO; KIDS BEING ON THE DESKS, SLEEPING. IT WAS JUST A DIFFERENT WAY OF LIFE. NOW THE WAY THAT LIFE HAS CHANGED OVER NOT THAT MANY YEARS, IT’S HARD TO KEEP UP.” “[MY MOTHER] DID SO MANY PAINTINGS. IT’S INTERESTING HOW MANY WERE CALLED UNDER THE SAME NAME. PEOPLE SAY, ‘OH, I’VE SEEN THAT ONE,’ BUT [THEY] HAVEN’T, IT’S SOMETHING DIFFERENT,” MCCAUGHERTY STATED, “SHE TOOK PICTURES AND [FROM THOSE PHOTOGRAPHS] SHE’D HAVE AN IDEA OF A PAINTING AND A WAY SHE’D GO.” ONE WORK INCLUDED IN THE COLLECTION IS TITLED, “EASTER SUNDAY 1907.” OF THE PAINTING, MCCAUGHERTY DESCRIBED, “THIS IS AN EASTER SUNDAY [SCENE AND I IMAGINE IS TYPICAL OF] WHAT IT WAS ON THAT SUNDAY. PEOPLE DIDN’T HAVE CARS, SO IT WAS BUGGIES…” SPEAKING TO HIS MOTHER’S LEGACY, MCCAUGHERTY EXPLAINS, “THE NEW GENERATION DOESN’T REALLY UNDERSTAND [HER WORK, BUT] THE PEOPLE THAT ARE INTERESTED IN IT, SURELY ARE GOING TO BUY [SOME WORKS] NOW OR END UP GETTING IT SOMEHOW. [THOSE WHO ARE INTERESTED IN MY MOTHER’S ART] ARE GOING TO PASS ON, AS WELL.” TAKEN FROM A PREVIOUS ARTIFACT RECORD DESCRIBING MCCAUGHERTY’S WORK, IT IS STATED, “IRENE MCCAUGHERTY'S FOLK ART WATERCOLOR PAINTINGS EXPLORE SOUTHERN ALBERTA’S CULTURAL NARRATIVE AND TELL THE STORY OF WHAT THE PRAIRIE PEOPLE’S LIFE WAS LIKE DURING THE LATTER PART OF THE 19TH AND EARLY 20TH CENTURIES. SHE DEPICTED IN HER PAINTINGS THE HISTORICAL PAST OF SOUTHERN ALBERTA AND EXAMPLES OF THE DRESS AND ACTIVITIES OF THE PEOPLE WHO LIVED THERE.” PLEASE SEE PERMANENT RECORD P20060016036 FOR FURTHER INFORMATION ABOUT THE ARTIST IRENE MCCAUGHERTY AND HER ARTWORK. PLEASE SEE THE PERMANENT RECORD FOR THIS ARTIFACT COLLECTION (P20160031) FOR FURTHER INFORMATION REGARDING THIS DONATION, INCLUDING FULL INTERVIEW TRANSCRIPTION FROM THE SEPTEMBER 25, 2017.
Catalogue Number
P20160031003
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
WATERCOLOUR, PAPER
Catalogue Number
P20160010013
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE, KANADA"
Date Range From
1942
Date Range To
1946
Materials
WATERCOLOUR, PAPER
No. Pieces
1
Height
18.7
Length
23.9
Description
WATERCOLOUR ON PAPER PAINTING THAT DEPICTS SCENE OF FIELD WITH FENCES STRETCHING HORIZONTALLY ACROSS THE IMAGE. GUARD TOWER AND WATER TOWER ON THE LEFT SIDE OF THE IMAGE. HOUSES AMOUNG BUSHES. MOUNTAINS IN DISTANT BACKGROUND. THE WORK IS TITLED "LETHBRIDGE, KANADA," IN THE BOTTOM LEFT CORNER. THE BACK IS CENSOR STAMPED WITH A CIRCULAR STAMP THAT READS, "INT. OP. CANADA CENSORED 51". VERY GOOD / EXCELLENT CONDITION: OVERALL YELLOWING OF PAPER. SLIGHT FOXING OVERALL. WRINKLE ON BACK RIGHT EDGE.
Subjects
ART
Historical Association
FINE ARTS
MILITARY
History
IN 2016, A COLLECTION OF WORKS BY KARL ENGEL WERE DONATED TO THE GALT MUSEUM. ENGEL WAS A PRIVATE IN THE GERMAN ARMY AND WAS CAPTURED BY THE ALLIED FORCES IN AFRICA (OR ITALY; SOURCES VARY). ENGEL CAME FROM THE OZADA PRISONER OF WAR (POW) CAMP TO THE LETHBRIDGE POW CAMP 133 BY DECEMBER 1942. THIS PAINTING, TITLED "LETHBRIDGE, KANADA" DEPICTS THAT CAMP. THE ARTIST WAS THE GRAND COUSIN OF THE DONOR, ROLF ZINSSMEISTER. A BIOGRAPHY OF THE ARTIST WRITTEN BY ZINSSMEISTER IN AN EMAIL STATES: “[ENGEL] WAS BORN IN 1909 IN MANNHEIN AND HAD BEEN EDUCATED AS AN OPERA SINGER. HIS HOBBIES WERE PAINTING AND CHESS… DURING THE SECOND WORLD WAR, KARL ENGEL WAS CALLED UP BY THE GERMAN ARMY FOR MILITARY SERVICE. SOMEWHERE DURING THIS AWFUL WAR, THE UNIT TO WHICH HE BELONGED WAS CAPTURED IN ITALY BY THE ALLIED TROOPS. FROM THERE, HE WAS TRANSFERRED AS PRISONER OF WAR (POW) TO CANADA, TOGETHER WITH MANY OTHER GERMAN SOLDIERS VIA KAIRO (SIC) AND ALEXANDRIA, EGYPT ON THE MS QUEEN MARY I. IN HIS BELONGINGS, I FOUND DRAWINGS MADE IN ROME, ITALY, AND KAIRO AND ALEXANDRIA EGYPT. ALL HIS DRAWINGS, EVEN THOSE IN CAMPS OF UMNAK, OZADA, AND LETHBRIDGE HAD BEEN CENSORED BY THE VICTORIOUS POWER AUTHORITIES WITH A STAMP TO BE RELEASED TO SEND HOME. AS A POW, KARL ENGEL USED HIS TALENT TO DRAW. I THINK THAT ONE AFTER ANOTHER OF HIS PAINTINGS ARRIVED AT HIS PARENTS’ HOME IN GERMANY. THIS WAS HIS WAY TO KEEP HIS PARENTS INFORMED ABOUT HIS ACTUAL SITUATION AS A POW. OF COURSE HIS LIFE AS A POW WASN’T GLORIOUS, BUT AS [FAR AS] I KNOW HE NEVER MADE COMPLAINTS ABOUT HIS SITUATION AS A PRISONER IN THE CAMP.” ACCORDING TO THE EMAIL, HE WAS NEVER MARRIED AND HAD NO CHILDREN. ENGEL PASSED AWAY IN FRANKFURT, MAIN IN 1974. OF HIS RELATIONSHIP WITH THE ARTIST, ZINSSMEISTER EXPLAINED, “AS A CHILD, I MET ENGEL OCCASIONALLY IN MY PARENTS’ HOME. IN 1974, I ASSISTED IN HIS FUNERAL IN SEEHEIM-JUGENHEIM. A LITTLE LATER I MOVED TO HIS PARENTS’ HOUSE IN SEEHEIN-JUGENHEIM TO TAKE CARE OF HIS OLDER BROTHER. THAT’S HOW I RECEIVED THE INFORMATION OF KARL ENGEL’S FORMER LIFE. [IT WAS] THERE I FOUND THE DRAWINGS IN HIS BELONGINGS AND KEPT THEM UNTIL TODAY.” THE WORKS DEPICT SCENES OF ROME, ITALY; A CAMP IN CAIRO, EGYPT; A CAMP IN ALEXANDRIA, EGYPT; A CAMP ON UMNAK ISLAND, ALASKA, UNITED STATES; THE POW CAMP IN OZADA, ALBERTA, CANADA; AND LETHBRIDGE’S PRISONER OF WAR CAMP 133. IN EARLY 2016, COLLECTIONS INTERN ELISE PUNDYK EMAILED POW RESEARCHER MICHAEL O’HAGAN REGARDING FURTHER INFORMATION ABOUT ENGEL. HIS RECORDS STATE THAT ENGEL WAS A PRIVATE IN THE GERMANY ARMY – MOST LIKELY IN THE AFRIKA KORPS, WHICH WAS FIRST IN AFRICA IN 1941. HE WAS CAPTURED IN NORTH AFRICA. HIS PRISONER OF WAR IDENTITY NUMBER WAS 037079. ENGEL WAS ONE OF THE 1392 PRISONERS OF WAR THAT ARRIVED AT THE TEMPORARY CAMP OZADA – LOCATED IN THE ROCKY MOUNTAINS BETWEEN CALGARY AND BANFF – ON 25 JULY 1942. BY DECEMBER 1942, ALL OF THE POW’S HAD BEEN TRANSFERRED FROM THE CAMP AT OZADA TO LETHBRIDGE. IN A 2018 EMAIL, O’HAGAN PROVIDED FURTHER INFORMATION STATING: “[ENGEL] REMAINED IN (OR AT LEAST ATTACHED TO) CAMP 133 (FIRST OZADA, THEN LETHBRIDGE) FOR THE DURATION OF HIS TIME IN CANADA. HE [SPENT] SOME TIME DURING SEPTEMBER 1945 WORKING ON FARMS IN THE LETHBRIDGE AREA, EITHER FROM ONE OF THE NINE HOSTELS OPERATING AROUND LETHBRIDGE OR GOING OUT ON DAILY WORK PARTIES FROM CAMP 133.” THE FARM RECORDS FROM THIS PERIOD ARE INCOMPLETE, SO IT CANNOT BE DETERMINED AS TO WHERE HE WORKED OR FOR HOW LONG. O’HAGAN EXPLAINED ENGEL WAS ONE OF THE 2759 POWS TRANSFERRED BACK TO THE UNITED KINGDOM ABOARD HMT MAURETANIA, WHICH LEFT HALIFAX ON 31 MARCH 1946. PLEASE REFERENCE P20040008000 FOR FURTHER INFORMATION ABOUT LETHBRIDGE’S CAMP 133. FOR FURTHER INFORMATION, INCLUDING EMAIL CORRESPONDENCE REGARDING THE WORKS, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160010013
Acquisition Date
2016-01
Collection
Museum
Images
Less detail

1347 records – page 1 of 68.