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ORNAMENT, CHRISTMAS TREE

https://collections.galtmuseum.com/en/permalink/artifact12042
Other Name
ANGEL
Date Range From
1960
Date Range To
2003
Material Type
Artifact
Materials
PLASTIC, COTTON
Catalogue Number
P20030049032
  1 image  
Material Type
Artifact
Other Name
ANGEL
Date Range From
1960
Date Range To
2003
Materials
PLASTIC, COTTON
No. Pieces
1
Length
18
Width
9
Description
PLASTIC ANGEL WITH WINGS IN A CLOUD OF COTTON. GLD STRING ATTACHED TO TOP OF ANGEL. ANGEL HAS CHILD-LIKE APPEARANCE WITH CLOSED EYES, ROSY CHEEKS, AND HANDS FOLDED IN PRAYER GESTURE. FACE AND WINGS ARE HAND PAINTED. YLLW WINGS ON BACK. ANGEL IS SITTING IN A CLOUD MADE FROM COTTON WITH SPARKLES AND FIVE SILVER STARS.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
BELONGED TO DONOR'S AUNT, IRIS STEWART. SEE P20030049001 FOR COMPLETE HISTORY.
Catalogue Number
P20030049032
Acquisition Date
2003-10
Collection
Museum
Images
Less detail
Other Name
"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
"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 IS CASED IN A LAVENDER MATTE AND SILVER METAL FRAME. FRAME HAS WHITE COROPLAST BACKING WITH HANDWRITTEN TEXT IN BLUE MARKER ON LEFT SIDE "MELISSA AFTER CALGARY". BACKING AND FRONT OF MATTE HAVE MINOR STAINING; OVERALL VERY GOOD CONDITION.
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
PEN & INK; WHEN THE REDMAN SPEAKS
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
PAPER, GLASS, ALUMINUM
Catalogue Number
P20010101000
  1 image  
Material Type
Artifact
Other Name
PEN & INK; WHEN THE REDMAN SPEAKS
Date Range From
1990
Date Range To
2000
Materials
PAPER, GLASS, ALUMINUM
No. Pieces
1
Height
2.2
Length
61.5
Width
49.0
Description
BLACK INK ON A WHITE BACKGROUND. PICTURES A NATIVE IN TRADITIONAL DRESS, SITTING ON A HORSE, HOLDING A SPEAR IN ONE HAND. HORSE IS ATOP A KNOLL AND VISIBLE IN THE DISTANCE IS SMOKE FROM A FIRE. IN FOREGROUND IS A BUFFALO SKULL. THERE IS ALSO A BIRD IN THE SKY IN THE BACKGROUND. IN BOTTOM RIGHT HAND CORNER IS "ALLEN WELLS". DRAWING IS FRAMED BY GRAY AND WHITE MATTES. IN BOTTOM CENTER OF WHITE MATTE IS A METAL LABEL THAT READS "WHEN THE REDMAN SPEAKS". DRAWING IS IN A BLACK PAINTED ALUMINUM FRAME WITH A GLASS INSERT; HAS A CARDBOARD BACKING.
Subjects
ART
Historical Association
FINE ARTS
History
ACQUIRED BY WILMA WOOD, DIRECTOR OF THE GALT MUSEUM & ARCHIVES FROM 1999 TO 2002. DRAWING IS AN ORIGINAL AND ONE OF A KIND; THE ARTIST, ALLEN WELLS, STATES HE RARELY MAKES PRINTS OF HIS WORKS SO THAT EVERY BUYER KNOWS THEY HAVE SOMETHING ORIGINAL. WELLS BELIEVES WORK WAS DONE CA. 1995, BUT CANNOT BE SURE AS HE DOES NOT DATE HIS WORK SO THAT THE VIEWER CAN MAKE THEIR OWN INTERPRETATIONS. ARTIST EXPLAINS THAT TITLE OF WORK REFERS TO THE SMOKE SIGNAL IN THE BACKGROUND OF THE PICTURE, WHICH IS THE TRADITIONAL FORM OF COMMUNICATION BETWEEN NATIVE PEOPLES. WELLS IS A MEMBER OF THE BLOOD TRIBE, LIVING SOUTHWEST OF STAND OFF AND HAS DONE ART ALL HIS LIFE. HE CURRENTLY DOES ARTWORK FOR SOUTHERN MONUMENT AND FOR THE BLOOD TRIBE (CHILDREN'S SERVICES; EDUCATION). ARTIST MAKES PINS OUT OF STONE WHICH HAVE SOLD AT RODEOS AND CRAFT SHOWS THROUGHOUT THE WESTERN UNITED STATES AND CANADA. WELLS DEPICTS NATIVE CULTURE AND THE SPORT OF RODEO AS "THESE THINGS ARE THE CENTRE OF [HIS] LIFE AND [HIS] WORK SHOWS [HE] IS PROUD TO BE A NATIVE". ONE OF HIS PROUDEST ACHIEVEMENTS IS HE HAD HIS LOGO CHOSEN FOR THE 6TH WORLD INDIGENOUS PEOPLE'S CONFERENCE ON EDUCATION, HELD IN 2002 IN MORLEY, ALBERTA. HE ALSO ILLUSTRATED THE BOOK KIPAITAPIIWAHSINNOUNI: ALCOHOL & DRUG ABUSE EDUCATION PROGRAM, AND CREATED CARTOONS FOR THE BLOOD TRIBE NEWS. ARTIST DOES VARIOUS ART SHOWS BUT HAS ONLY HAD HIS WORK IN A GALLERY ONCE. SEE HARD COPY FOR FOR MORE INFO.
Catalogue Number
P20010101000
Acquisition Date
2003-07
Collection
Museum
Images
Less detail
Other Name
COVERED WAGON
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, FABRIC, ALUMINUM
Catalogue Number
P20000046000
Material Type
Artifact
Other Name
COVERED WAGON
Date Range From
1990
Date Range To
2000
Materials
WOOD, FABRIC, ALUMINUM
No. Pieces
3
Height
29.2
Length
61.0
Width
21.3
Description
HAND CRAFTED FROM WOOD. EACH WHEEL HAS A STRIP OF ALUMINUM AROUND OUTER RIM. SIDES OF WAGON HAVE VARIOUS PROPS ATTACHED, INCLUDING A BARREL, 3 WOODEN POTS, AN AXE, A SHOVEL, A PICK AXE, AND A TRUNK. ALSO ON SIDE OF WAGON IS A SUEDE GUN CASE, IN WHICH IS INSERTED A MINIATURE WOODEN RIFLE (RIFLE IS REMOVABLE). ON FRONT AND BACK OF WAGON THERE ARE ALSO MINIATURE TRUNKS ATTACHED. TOP OF WAGON IS COVERED WITH BROWN FABRIC. FRONT OF WAGON HAS A LONG, HINGED PIECE ATTACHED TO IT, WITH A SMALL HOLE IN IT. A SEPARATE PIECE SITS IN HOLE, MADE UP OF THREE TRIANGULAR PIECES OF WOOD, HOOKED TOGETHER, WITH TWO SMALL CHAINS HANGING FROM BOTH ENDS. A WHITE LABEL ON UNDERSIDE OF WAGON READS "PERSONAL PROPERTY OF MAYOR DAVID B. CARPENTER".
Subjects
ART
Historical Association
FINE ARTS
History
DONOR HAS BEEN MAYOR OF LETHBRIDGE SINCE 1987; IS RETIRING IN 2001. WAGON WAS GIVEN TO DONOR AS A GIFT BY ENTREPRENEUR STEPHEN REID. THE WAGON WAS CRAFTED BY A GENTLEMAN IN MILK RIVER. MR. REID WAS INTRODUCED TO THE ARTIST BY DR. ALEX JOHNSTON. MR. REID WAS IMPRESSED BY THE ARTIST'S TALENT AND THOUGHT THE MAYOR WOULD APPRECIATE THE WORK OF A LOCAL ARTIST. ITEM WAS DONATED TO MUSEUM IN JUNE 2000, DURING THE MOVE TO THE NEW CITY HALL, FROM THE BLT BUILDING.
Catalogue Number
P20000046000
Acquisition Date
2000-12
Collection
Museum
Less detail
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
MASONITE
Catalogue Number
P20020006014
  1 image  
Material Type
Artifact
Date Range From
1990
Date Range To
2000
Materials
MASONITE
No. Pieces
1
Height
0.3
Length
61.3
Width
57.2
Description
OIL ON MASONITE; NAIVE STYLE OF PAINTING. PICTURES A WOMAN, WEARING A RED DRESS AND GLASSES, IRONING CLOTHES. BEHIND HER IS A WOOD BURNING STOVE, AND THERE ARE 2 CHILDREN ON THE FLOOR (PLAYING?). THERE ARE 2 DOORS IN THE BACKGROUND; VISIBLE THROUGH ONE DOOR ARE SOME WHITE AND YELLOW CUPBOARDS.
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006014
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
2 GIRLS DANCING
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
MASONITE
Catalogue Number
P20020006002
  1 image  
Material Type
Artifact
Other Name
2 GIRLS DANCING
Date Range From
1990
Date Range To
2000
Materials
MASONITE
No. Pieces
1
Height
0.6
Length
60.5
Width
49.4
Description
OIL ON MASONITE; NAIVE STYLE OF PAINTING. PICTURES TWO GIRLS DANCING. ONE IS WEARING A WHITE BLOUSE AND BLUE SKIRT, THE OTHER IS WEARING A RED AND BLACK DRESS, WITH A RED HAIRBAND. THEY ARE IN A ROOM WITH GREEN AND YELLOW WALLS, A GREEN FLOOR AND 2 DOORS BEHIND THEM. THERE IS ALSO A RADIATOR ON THE WALL. ARTIST'S SIGNATURE, ON RIGHT SIDE OF PAINTING, HAS BEEN CUT OFF: "H FLA". PAINTING IS UNFRAMED.
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. "LUCKILY THE HOUSE WAS LARGE. WE COULD PRACTICE DANCING THROUGH THE LIVING ROOM, DOWN THE HALL, THROUGH THE KITCHEN, AROUND THE DINING ROOM TABLE AND THROUGH SLIDING DOORS THROUGH THE LIVING ROOM." FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006002
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
BEDTIME STORY
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
MASONITE
Catalogue Number
P20020006003
  1 image  
Material Type
Artifact
Other Name
BEDTIME STORY
Date Range From
1990
Date Range To
2000
Materials
MASONITE
No. Pieces
1
Height
0.3
Length
60.5
Width
60.0
Description
UNFRAMED; NAIVE STYLE OF PAINTING. PICTURES A WOMAN SITTING ON A BED WITH AN OPEN BOOK IN HER HANDS. BEHIND HER A SMALL CHILD IN RED IS COMBING HER HAIR, AND 3 OTHER CHILDREN ARE IN THE BED. THERE IS ALSO A CHAIR IN THE BACKGROUND AND A PICTURE ON THE WALL OF 2 SAILBOATS. IN BOTTOM RIGHT HAND CORNER IS ARTIST'S SIGNATURE, "H FLAIG". WRITTEN ON BACK OF PAINTING, IN RED FELT PEN, IS "HELEN FLAIG 551-3-133 LETHBRIDGE ALTA. T1J 4B3 327 9791".
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. "OUR MOTHER LOVED THE STORIES AS MUCH AS WE DID. BOTH PARENTS LOVED TO READ". FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006003
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
"WATER FIGHT"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
MASONITE, WOOD, PAPER
Catalogue Number
P20020006007
  1 image  
Material Type
Artifact
Other Name
"WATER FIGHT"
Date Range From
1990
Date Range To
2000
Materials
MASONITE, WOOD, PAPER
No. Pieces
1
Height
1.8
Length
64.5
Width
64.1
Description
PAINTING DONE IN NAIVE STYLE. FRAMED IN A VARNISHED WOOD FRAME. PICTURES THREE CHILDREN IN BLACK BATHING SUITS. THEY ARE IN FRONT OF A BARN, WITH A WATER TROUGH IN FRONT, AND A COW DRINKING FROM IT. THERE IS A DOG IN THE LOWER RIGHT HAND CORNER OF PAINTING. BOTTOM RIGHT HAND CORNER ALSO HAS ARTIST'S SIGNATURE "H FLAIG". PAINTING HAS BROWN PAPER BACKING. ON PAPER READS "WATER FIGHT H. FLAIG 3279791". ALSO HAS A WIRE FOR HANGING.
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. "OUR BLACK WOOL SWIM SUITS OFTEN HAD MOTH HOLES. THE ICY COLD WATER FROM THE WELL MADE US SCREAM". FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006007
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
MAKING A KITE
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
CANVAS, WOOD
Catalogue Number
P20020006010
  1 image  
Material Type
Artifact
Other Name
MAKING A KITE
Date Range From
1990
Date Range To
2000
Materials
CANVAS, WOOD
No. Pieces
1
Height
2.6
Length
82.0
Width
68.1
Description
HAS A WOOD FRAME, WITH CLEAR VARNISH; NAIVE STYLE OF PAINTING. PICTURES A MAN KNEELING WITH A KITE IN HIS HANDS, AND 2 CHILDREN WATCHING HIM. IN THE BACKGROUND IS A FARMYARD SCENE, INCLUDING A TRACTOR, CHICKENS, A DOG, A BARN, AND FENCES. IN BOTTOM RIGHT HAND CORNER IS ARTIST'S SIGNATURE "H FLAIG". PAINTING HAS A CARDBOARD BACKING AND A WIRE FOR HANGING. *NOTE* FRAME HAD COME LOOSE FROM PAINTING, AND WAS REATTACHED IN DEC. 2015
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. "OUR FATHER WAS 35 WHEN HE MARRIED AND COULD BE VERY STERN BUT HE LIKED US TO HAVE FUN. ONCE HE MADE A TENNIS COURT FOR THE OLDER GIRLS". FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006010
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
"FALL DAY"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, MASONITE
Catalogue Number
P20020006011
  1 image  
Material Type
Artifact
Other Name
"FALL DAY"
Date Range From
1990
Date Range To
2000
Materials
WOOD, MASONITE
No. Pieces
1
Height
2.0
Length
63.5
Width
42.4
Description
OIL ON MASONITE; NAIVE STYLE OF PAINTING. HAS A VARNISHED WOOD FRAME. PAINTING IS OF A MAN AND CHILD WITH THEIR HANDS IN A LARGE WOODEN TROUGH FULL OF GRAIN? (ORANGE). ANOTHER MAN IS SITTING ON EDGE OF TROUGH. IN BOTTOM RIGHT HAND CORNER IS ARTIST'S SIGNATURE "H FLAIG". BACK OF PAINTING HAS A LABEL ON IT THAT READS "FALL DAY $150.00"; ALSO HAS A WIRE FOR HANGING.
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. "HAULING GRAIN (AND CHEWING SOME) TO THE ELEVATOR". FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006011
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
"BLIND MAN'S BLUFF"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, CANVAS, PAPER
Catalogue Number
P20020006017
  1 image  
Material Type
Artifact
Other Name
"BLIND MAN'S BLUFF"
Date Range From
1990
Date Range To
2000
Materials
WOOD, CANVAS, PAPER
No. Pieces
1
Height
3.8
Length
61.8
Width
47.7
Description
OIL ON CANVAS; NAIVE STYLE OF PAINTING. HAS A VARNISHED WOOD FRAME. PICTURES 3 CHILDREN STANDING ON TOP OF A SHORT STAIRWAY. ONE CHILD, IN A GREEN TOP AND RED SHORTS, HAS A WHITE BLINDFOLD OVER HER EYES. THE OTHER TWO ARE LOOKING ON. THE WALLS IN PAINTING ARE BLUE. NEAR BOTTOM RIGHT HAND CORNER IS ARTIST'S SIGNATURE "H FLAIG". PAINTING IS BACKED WITH BROWN PAPER; HELD ON BY PACKING TAPE AT THE BOTTOM AND MASKING TAPE ON SIDES AND TOP. ON PAPER IS A LABEL THAT READS "BLIND MAN'S BLUFF $150.00". THERE IS ALSO A WIRE FOR HANGING.
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006017
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
"CHURNING"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
MASONITE
Catalogue Number
P20020006015
  1 image  
Material Type
Artifact
Other Name
"CHURNING"
Date Range From
1990
Date Range To
2000
Materials
MASONITE
No. Pieces
1
Height
0.3
Length
61.0
Width
58.0
Description
ACRYLIC ON MASONITE; NAIVE STYLE OF PAINTING. PICTURES A GIRL IN A RED DRESS SITTING ON A STOOL, READING A BOOK, AND CHURNING BUTTER. ANOTHER GIRL IN A BLUE DRESS IS SITTING ON A SET OF STAIRS. THE GIRLS APPEAR TO BE IN A BASEMENT. IN BOTTOM RIGHT HAND CORNER IS ARTIST'S SIGNATURE "H FLAIG". BACK OF PAINTING HAS A WOOD GRAIN APPEARANCE. THERE IS A LABEL ON BACK THAT READS "
Subjects
ART
Historical Association
FINE ARTS
History
PAINTED BY DONOR, HELEN FLAIG (1929 - 2015), AS PART OF HER "CHILDHOOD IN THE 30S" SERIES. PAINTING WAS INSPIRED BY ARTIST'S MEMORY OF LIFE ON THE PRAIRIES. "WE SAVED CREAM WITH A CREAM CAN SITTING IN THE COLD WATER THAT CAME UP FROM AN ARTESIAN WELL (296 FEET, I BELIEVE) BELOW THE GROUND. MY SISTER DIDN'T TIGHTEN THE TOP PROPERLY AND THE CREAM SPILLED ON THE FLOOR. CHURNING IN THE COOL CELLAR WAS A NICE JOB. WE MADE BUTTERMILK WHICH OUR FATHER LIKED. WE ALSO SOLD CREAM." FLAIG'S FATHER, LEWIS ALEXANDER HUMMASON, LEFT ONTARIO IN 1905 TO TAKE HIS SICK BROTHER'S PLACE TO GO HOMESTEADING IN SASKATCHEWAN. HER MOTHER, ESTELLA MARY STUBBS, WAS 8 YEARS YOUNGER THEN HER FATHER; SHE HAD COME WEST WITH HER PARENTS AND HER SISTER TO CALGARY; ESTELLA'S FATHER WAS A CARPENTER. ESTELLA BECAME A SCHOOL TEACHER AND IN THAT ROLE SHE TOOK A POSITION IN LOCKWOOD, SK. THE GREAT FLU CLOSED THE SCHOOL AND SHE BECAME A NURSE. FLAIG'S FATHER BECAME A HANDY MAN HELPING THE SICK, AND IN THIS WAY MET HIS WIFE. THERE WERE 8 CHILDREN IN DONOR'S FAMILY, HELEN WAS THE SEVENTH, BORN ON THE FARM IN LOCKWOOD IN 1929. HELEN'S YOUNGER SISTER BLANCHE DIED WHEN SHE WAS NEARLY NINE - THE PAINTINGS IN THIS SERIES REFERENCE THE TIMES WHEN SHE AND BLANCHE PLAYED TOGETHER. SHE STARTED THE "CHILDHOOD IN THE 30S" PAINTINGS IN 1994 AS A WAY TO BRING SOME CHEER INTO HER OLDER SISTER FERN'S LIFE, WHO WAS IN A COMA AT THE TIME. HELEN'S HUSBAND LLOYD FLAIG WAS RAISED IN ALBERTA. SHE AND LLOYD MET IN 1949 WHILE WORKING AT THE PSYCHIATRIC HOSPITAL IN NORTH BATTLEFORD, SK. THEY MOVED TO CALGARY WHERE LLOYD DECIDED TO BECOME A SCHOOL TEACHER AND HIS FIRST POSITION WAS IN LETHBRIDGE IN 1955. HELEN HAS ALWAYS BEEN INTERESTED IN DRAWING AND JOINED THE LETHBRIDGE SKETCH CLUB IN 1955. HELEN STARTED POTTERY CLASSES IN 1964 WITH THE OLDMAN RIVER POTTERS GUILD AND CONTINUED WITH THEM TO THE PRESENT DAY. SHE AND LLOYD MOVED TO THEIR ACREAGE IN 1974, BUT SHE HAS CONTINUED TO TAKE COURSES, ESPECIALLY FIGURATIVE WORK AT BOWMAN ART'S CENTER, THE COMMUNITY COLLEGE, UNIVERSITY OF LETHBRIDGE, AND AT RED DEER COLLEGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING DESCRIPTION OF HELEN FLAIG'S 'CHILDHOOD IN THE 1930S' SERIES IN THE BROCHURE PRODUCED BY THE RED DEER AND DISTRICT MUSEUM FOR THE 1997 EXHIBITION OF FLAIG'S WORK, WRITTEN BY EXHIBITS COORDINATOR DIANA ANDERSON: "THIS SERIES OF 20 PAINTINGS RETURNS HELEN TO HER CHILDHOOD DAYS OF GROWING UP ON A FARM IN RURAL SASKATCHEWAN... HELEN CHOOSES THE THINGS THAT MEANT SOMETHING TO HER. SHE STARTED WITH GRASSES AND VEGETABLES AND HER OWN CHILDREN, ORDINARY THINGS THAT SURROUNDED HER... HELEN IS INTERSTED IN THE MOOD OF THE PAINTINGS MORE THAN THE ACCURACY OF THE IMAGE. HER PERSONAL VISION AND FRESHNESS OF CONCEPT GIVE THIS SERIES ITS VISUAL IMPACT THROUGH THE USE OF NAIVE PAINTING... NAIVE PAINTING CAN BE DESCRIBED AS A TYPE OF PAINTING THAT IS UNSOPHISTICATED, CHILDLIKE, SIMPLE OR UNWORLDLY... IN HELEN'S CASE, THIS IS IMPLY A STYLE THAT SHE CHOSE TO BETTER EXPRESS HER SUBJECT MATTER, AS IT CAPTURES MOST CLOSELY THE FLAVOUR SHE WANTED TO GIVE OF THE 1930S... THE PAINTINGS SHOW AN OPEN, HONEST APPROACH TO THE SUBJECT AND EACH PAINTING HOLDS SPECIAL MEANING FOR HELEN." FOR A COPY OF THE BROCHURE AND FURTHER BIOGRAPHICAL INFORMATION ON THE ARTIST, SEE PERMANENT FILE P20020006001.
Catalogue Number
P20020006015
Acquisition Date
2002-07
Collection
Museum
Images
Less detail
Other Name
CPR VIADUCT
Date Range From
1980
Date Range To
2000
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P19990029017
Material Type
Artifact
Other Name
CPR VIADUCT
Date Range From
1980
Date Range To
2000
Materials
CERAMIC
No. Pieces
1
Height
9.8
Length
17.7
Width
5.9
Description
CERAMIC FIGURINE OF A SECTION OF THE HIGH LEVEL BRIDGE WITH A TRAIN GOING ACROSS IT. WRITTEN ON BOTH SIDES OF TRAIN ENGINE IS "1530". THERE ARE TREES AND BUSHES AT BOTTOM OF FIGURINE. A BANNER ON ONE SIDE OF FIGURINE READS "CPR VIADUCT LETHBRIDGE ALBERTA CANADA". ON OTHER SIDE READS "LENGTH 1 MILE 47 FT. HEIGHT 307 FT. COMPLETED JUNE 22, 1909". ON ONE END OF FIGURINE READS "SOO FLYER". BOTTOM HAS A ROUND HOLE IN IT. ENTIRE FIGURINE IS COLOURED WITH A LIGHT ORANGEY-BROWN GLAZE.
Subjects
ART
Historical Association
TRANSPORTATION
DECORATIVE ARTS
History
SOUVENIR FIGURINE. THE WORDS "SOO FLYER" ON FIGURINE REFER TO A FIRST-CLASS EXPRESS PASSENGER TRAIN WHICH OPERATED IN THE EARLY 1900S (CA. 1906-1914). ARTIFACTS PURCHASED BY DONOR AT VARIOUS ANTIQUE SHOPS, GARAGE SALES, ETC. FOR THE PURPOSE OF DONATING TO THE MUSEUM. ARTIFACTS WERE PURCHASED FROM 1999 TO 2002 WHILE DONOR WAS DIRECTOR OF THE GALT MUSEUM. SEE PREVIOUS DONATIONS.
Catalogue Number
P19990029017
Acquisition Date
2002-11
Collection
Museum
Less detail
Other Name
BANNER
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
NYLON
Catalogue Number
P19970096002
Material Type
Artifact
Other Name
BANNER
Date Range From
1990
Date Range To
2000
Materials
NYLON
No. Pieces
1
Length
20
Width
11
Description
RECTANGULAR RED NYLON HANGING WITH WHITE RAYON BACKING. CIRCULAR LOGO DEPICTED IN CENTRE: WHITE WITH RAYS EXTENDING IN ALL DIRECTIONS; TRUMPET, STAR, AND FLAME AT CENTRE, WITH WORDS "PIONIERU UN SKOLENU NAMS DAUGAVPILS" PRINTED AROUND CIRCUMFERENCE. BLUE WAVES AT BOTTOM. THIN NYLON CORD AT TOP OF BANNER FOR HANGING.
Subjects
ART
Historical Association
COMMEMORATIVE
DECORATIVE ARTS
History
GIFT FROM MUSEUM OF THE STEPANOVS IN TIMASHEVSK, LETHBRIDGE'S TWIN CITY IN RUSSIA. DONOR'S MOTHER RUNS RUSSIAN MUSEUM. DONOR CAME TO LETHBRIDGE IN SEPT. 1997 FOR A YEAR TO LEARN ENGLISH. THE FRIENDSHIP BETWEEN TIMASHEVSK AND LETHBRIDGE BEGAN IN 1943 WHEN WAR-TORN RUSSIA APPEALED FOR HELP AND LETHBRIDGE RESPONDED WITH OVER $5,000 IN MONEY AND SUPPLIES. TIES WERE RE-ESTABLISHED IN 1992 AFTER THE COLLAPSE OF THE SOVIET UNION, WHEN GEORGIAN REFUGEES IN RUSSIA WERE SUPPLIED WITH HUMANITARIAN AID BY THE LETHBRIDGE TWINNING SOCIETY AND A GROUP OF IMMANUAL CHRISTIAN SCHOOL STUDENTS. MUSEUM RELATIONS WERE ESTABLISHED AFTER FORMER GALT CURATOR, CECILE MCCLEARY, VISITED TIMASHEVSK IN EARLY 1990S.
Catalogue Number
P19970096002
Acquisition Date
1997-09
Collection
Museum
Less detail
Other Name
THE QUEENS WARHOUNDS
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, PAPER, GLASS
Catalogue Number
P19980048085
  1 image  
Material Type
Artifact
Other Name
THE QUEENS WARHOUNDS
Date Range From
1990
Date Range To
2000
Materials
WOOD, PAPER, GLASS
No. Pieces
1
Height
2.2
Length
42.8
Width
54.5
Description
PAINTING IS CENTERED AROUND A MUSTACHED MOUNTIE ON HORSE. ON THE RIGHT AND SIDE THERE ARE THREE NATIVE AMERICANS WITH 3 HORSES. THERE ARE ALSO TWO MOUNTIES ON HORSES IN THE BACKGROUND BUT ARE QUITE FAR BACK IN THE DISTANCE. UNDERNEATH THE PAINTING, THERE IS A METAL PIECE WHICH READS, '' 'THE QUEENS WARHOUNDS' BY CM RUSSELL TO OUR LETHBRIDGE FRIENDS, GREAT FALLS AREA CHAMBERS OF COMMERCE."
Subjects
ART
Historical Association
FINE ARTS
COMMEMORATIVE
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHY OF THE ARTIST, C.M. RUSSELL, WAS DEVELOPED WITH INFORMATION FROM THE WEBSITE OF THE C.M. RUSSELL MUSEUM, LOCATED IN GREAT FALLS, MONTANA. CHARLES MARION RUSSELL WAS BORN ON MARCH 19, 1864 IN ST. LOUIS, MISSOURI, AND DREW SKETCHES AND CREATED CLAY FIGURES OF ANIMALS DURING HIS CHILDHOOD. FROM AN EARLY AGE HE HAD AN INTEREST IN THE WILD WEST AND COWBOYS, AND AT THE AGE OF 16 HE LEFT SCHOOL TO WORK ON A SHEEP RANCH IN MONTANA. RUSSELL STAYED IN MONTANA FOR THE REST OF HIS LIFE, WORKING ON RANCHES AND FOR A TIME, LIVING WITH MEMBERS OF THE BLOOD TRIBE. IN 1892 HE MOVED TO GREAT FALLS IN AN ATTEMPT TO MAKE A LIVING AS A FULL-TIME ARTIST. RUSSELL'S WIFE NANCY IS OFTEN GIVEN CREDIT IN MAKING RUSSELL AN INTERNATIONALLY KNOWN ARTIST, AS HE WAS NOT SKILLED IN MARKETING HIS WORK. SHE ORGANIZED EXHIBITIONS OF HIS WORK THROUGHOUT THE UNITED STATES AND IN LONDON. C.M. RUSSELL DIED ON OCTOBER 24, 1926 IN GREAT FALLS. THE C.M. RUSSELL MUSEUM ENCOMPASSES THE ARTIST'S FORMER HOME AND STUDIO, AND HOLDS 700 OF THE ARTIST'S WORK IN ITS PERMANENT COLLECTION.
Catalogue Number
P19980048085
Acquisition Date
2002-02
Collection
Museum
Images
Less detail
Other Name
JAPANESE DOLL, BOXED
Date Range From
1995
Date Range To
2000
Material Type
Artifact
Materials
CLOTH, PLASTIC, WOOD
Catalogue Number
P20010096000
Material Type
Artifact
Other Name
JAPANESE DOLL, BOXED
Date Range From
1995
Date Range To
2000
Materials
CLOTH, PLASTIC, WOOD
No. Pieces
4
Height
55
Length
30
Width
24
Description
1. DOLL, 2PCE, CLOTH, PLASTIC, WOOD. DOLL PRESENTS BLUE CLOTH KIMONO WITH FLORAL DESIGN. RED WAISTBAND WITH GOLD TIE. DOLL GRASPS DRUM-LIKE OBJECT IN LEFT HAND AND SHOULD HAVE FAN IN RIGHT HAND. OPEN GOLD FAN WITH BLACK HANDLE HAS BECOME DETACHED (GLUE WORN OUT). DOLL IS MOUNTED ON A BLACK LACQUERED BASE. UNFINISHED WOOD PANEL WITH JAPANESE SCRIPT ADHERED TO BASE ON DOLL'S LEFT. 2. BOX, 2PCE, CARDBOARD 60CM X 31CM X 25CM. TOP OF LID AND END OF BASE DISPLAY WHITE AND PURPLE LABEL. TOP LABEL TEXT "OYAMA NINGYOU" AND END LABEL "923-0501" IN ADDITION TO JAPANESE CHARACTERS.
Subjects
TOY
Historical Association
DECORATIVE ARTS
History
DONOR'S HOSTED A 16 Y/O MALE JAPANESE STUDENT FOR A COUPLE OF WEEKS IN SUMMER, 1999. STUDENT ATTENDED ENGLISH CLASSES AT THE COLLEGE AND SENT DOLL AS THANK-YOU GIFT AFTER HE RETURNED TO JAPAN. DONOR UNDERSTOOD THAT DOLL REPRESENTED SPIRITUAL ASPECT (PROTECTION). DONOR'S PARENTS WERE EVACUATED TO LETHBRIDGE, FARMING IN COALDALE AREA (MCNALLY) IN FUTURE YEARS.
Catalogue Number
P20010096000
Acquisition Date
2002-03
Collection
Museum
Less detail
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, PAPER, NYLON
Catalogue Number
P19970041670
  2 images  
Material Type
Artifact
Date Range From
1990
Date Range To
2000
Materials
WOOD, PAPER, NYLON
No. Pieces
1
Length
12.5
Diameter
9.5
Description
PARASOL IS CONICAL SHAPED UMBRELLA MADES FROM INDIVIDUAL SHAFTS WRAPPED IN PAPER AND HELD TOGETHER WITH THREAD. PINK AND SILVER FOIL CAP IS ON TOP WITH WHITE NYLON TASSEL.
Subjects
TOY
Historical Association
DECORATIVE ARTS
History
TOY PARASOL WAS MADE BY LOCAL JAPANESE COMMUNITY PEOPLE FROM CIGARETTE PAPER. LIKELY GIVEN TO FAMILY AS A GIFT. THE NAKAYAMA FAMILY WAS ORIGINALLY FROM VANCOUVER BUT MOVED TO COALDALE FOLLOWING THE SECOND WORLD WAR WHEN THEY WERE INTERNED AT SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA BY THE CANADIAN GOVERNMENT. THE DONOR'S FATHER, REV. CANON G.G. NAKAYAMA, WAS AN ANGLICAN MINISTER IN VANCOUVER, AND THEN ESTABLISHED THE CHURCH OF THE ASCENSION IN COALDALE IN 1945 WHERE HE SERVED UNTIL 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041670
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
FELT, PAINT, WOOD
Catalogue Number
P20170038000
  2 images  
Material Type
Artifact
Date Range From
1990
Date Range To
2000
Materials
FELT, PAINT, WOOD
No. Pieces
1
Length
41.5
Width
88
Description
BLUE FELT BANNER WITH WOOD DOWEL POLE AT END, DOWEL WIDTH 88CM, BANNER WIDTH 74 CM. DOWEL ENDS ARE ROUNDED WITH SCREWS IN ENDS; RIGHT END OF DOWEL AS BLUE LINE AROUND POLE. BANNER IS FELT WITH WHITE FELT SEWN ON IN LETTERS “CFUW”, ROUND FELT MOSAIC OF COULEES UNDER A BLUE SKY BELOW, AND WHITE FELT SEWN TEXT “LETHBRIDGE & REGION”. LOWER EDGE OF BANNER HAS BLUE COTTON STRING TASSELS. BACK OF BANNER HAS WHITE OUTLINES OF LETTERS IN THREAD FROM STITCHING ON FRONT. LOOSE THREAD ON LETTER “G” IN “REGION” TEXT; LETTERS HAVE RED STAINING ON LOWER TEXT; WRINKILING OF FELT ON RIGHT SIDE OF BANNER; OVERALL VERY GOOD CONDITION.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DECORATIVE ARTS
ASSOCIATIONS
History
ON APRIL 16, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED KATHYRN YOSHIDA AND ROSE JURISICH REGARDING THE DONATION OF A WALL BANNER FROM THE CANADIAN FEDERATION OF UNIVERSITY WOMEN [CFUW]. YOSHIDA AND JURISICH WERE MEMBERS OF THE LETHBRIDGE CHAPTER OF THE CFUW WHEN THE HANGING WAS MADE IN THE 1990S. ON THE WALL BANNER, JURISICH RECALLED, “I THINK THAT [LAURIE] KAMINSKI MADE IT…SHE HASN’T BEEN A MEMBER FOR A LONG TIME… LAURIE MADE IT I THINK IN [PROBABLY THE ‘90S]. WE HAVE A NEW BANNER NOW THAT’S CURRENT. I DON’T REMEMBER WHO ELSE LAURIE DID IT [WITH]. SHE DIDN’T DO IT HERSELF, SHE DID IT WITH A COMMITTEE. BUT I DON’T REMEMBER WHO IT WAS.” “[WE USED THIS AT] PRAIRIE MEETINGS, WHERE WE ALL MET, AND THEY THOUGHT THAT EACH CLUB SHOULD HAVE A BANNER. THAT’S WHY WE GOT IT, AND THEN WE DIDN’T USE IT, I GUESS, BECAUSE IT’S HERE. I DON’T THINK [THE BANNER WAS IN USE] UP UNTIL 2010.” YOSHIDA ADDED, “I THINK [WE USED THE BANNER AT] MORE PROVINCIAL MEETINGS, NOT FOR THE GENERAL MONTHLY MEETINGS, BUT FOR ANYTHING A LITTLE BIT MORE SPECIAL.” “I REALLY LIKE [THE BANNER]…THE PRAIRIE AND THE COULEES. THERE’S A DIFFERENT…GRAPHIC ON THE NEW [BANNER]. THE NEW ONE WAS JUST UNVEILED A COUPLE YEARS AGO.” MACLEAN INTERVIEWED BARBARA DOYLE ON DECEMEBER 22, 2017 REGARDING HER TIME WITH THE CANADIAN FEDERATION OF UNIVERSITY WOMEN AND ON THE WALL BANNER. ON THE BANNER, DOYLE NOTED, “WE [USED] IT WHEN WE [WERE HAVING] A GATHERING OF PEOPLE FOR ONE THING—[THE] AGM. SOMETIMES, WE HOST [THE AGM], JUST THE ALBERTA ONE. IT GOES TO DIFFERENT CITIES, SO WE PUT [THE BANNER] UP THERE, WHEN SOMETHING LIKE THAT [HAPPENS].” “I THINK THIS IS JUST THE ‘HOME’ THING, AND THEY ALL HAVE A ‘HOME’ PLACE THERE, TOO. WHEREVER THEY ARE GOING, THERE IS PROBABLY SOMETHING LIKE [THIS BANNER DISPLAYED] TOO.” “I THINK I DO [REMEMBER THE BANNER BEING ON DISPLAY], BECAUSE I THINK [THE] NEW ONE HAS BEEN IN THE WORKS IN THE LAST FIVE YEARS.” “[WHEN I FIRST STARTED, THE BANNER] WOULD JUST HANG IT IN THE HOUSE, WHEN THERE WAS A MEETING… IT WOULD BE FOLDED UP AND PUT IN THE CLOSET.” YOSHIDA ELABORATED ON THE HISTORY OF THE CANADIAN FEDERATION OF UNIVERSITY WOMEN IN LETHBRIDGE, NOTING, “WE USED TO MEET AT THE [ATCO] GAS COMPANY [BUILDING]…IN THE 70S AND 80S…WE HAD TO GO DOWN STAIRS, AND I THINK THE STAIRS BECAME A PROBLEM FOR SOME OF OUR WOMEN. FROM THE GAS COMPANY [WE WENT] TO THE BULLMAN.” JURISICH ADDED, “WE WERE ALSO AT SAVE-ON-FOODS. [ATCO HAD] AN AUDITORIUM DOWNSTAIRS. THAT WAS QUITE LARGE. THEY [HAD] A VERY LARGE ROOM DOWNSTAIRS WITH A KITCHEN. IT WAS ACTUALLY VERY NICE EXCEPT THAT THE STAIRS WERE LIKE GOING INTO THE DEPTHS. THE STEPS WERE VERY STEEP AND VERY LONG. AND NO ELEVATOR.” DOYLE NOTED, “WE DON’T HAVE A BUILDING. BOOK CLUB IS AT PEOPLE’S HOUSES. WE ROTATE, AND WE HAVE A LITTLE, NOT A LUNCH, BUT NIBBLEY’S, (THAT’S FINGER FOOD), THERE. I DON’T KNOW WHERE THE BRIDGE GOES – THE BRIDGE PEOPLE. I THINK MAYBE TO THE SENIOR’S, ON THE SOUTH SIDE…WE USED TO GO TO THE POLICE STATION, BECAUSE THEY HAD A ROOM THERE, AND THEY LET US HAVE OUR MEETINGS THERE. I THINK IT WAS USUALLY MONTHLY THAT WE WERE DOING SOMETHING THERE.” “THAT SPACE [AT THE POLICE STATION] IS GONE, AND I WAS TOTALLY OUT OF IT THIS PAST SEMESTER, BECAUSE I WAS SO BUSY…I DON’T KNOW WHERE THEY WENT.” ON HER TIME WITH THE GROUP, JURISICH RECALLED, “I MOVED HERE IN 1971 AND A FRIEND BROUGHT ME TO THE ORGANIZATION. SHE THOUGHT I WOULD BE INTERESTED IN A MEMBERSHIP. IT WAS LIKE-MINDED WOMEN AND WE HAD A LOT OF DISCUSSIONS ABOUT WHITE PAPERS AND [OTHER TOPICS].” “AN UNDERGRADUATE DEGREE WAS FINE [TO BE A MEMBER], JUST SO LONG AS YOU HAD A DEGREE. THEY DIDN’T HAVE NURSING DEGREES AT ONE TIME, IT WAS JUST REGISTERED NURSE WHICH WASN’T CONSIDERED A DEGREE. NOW THEY HAVE NURSING DEGREES. BUT IF YOU HAD THAT KIND OF EDUCATION, THEN YOU WERE AN ASSOCIATE MEMBER…THEY ALSO WERE QUITE RESTRICTIVE AS TO LEGITIMATE UNIVERSITIES, AND THEY DON’T HAVE ANY OF THAT ANYMORE.” “I REMEMBER WHEN WE STUDIED THE WHITE PAPER ON THE MURDOCH CASE, WHERE THAT WOMAN WAS MARRIED FOR…FORTY YEARS OR SOMETHING AND THEY LIVED ON A FARM. HE LEFT SO THEY CHANGED THE LAWS ABOUT WOMEN CONTRIBUTING TO LIFE AND I THINK THE CHANGE WAS IN THE ‘70S OR ‘80S.” “THE SCHOOL SYSTEM [WAS AN IMPORTANT TOPIC] WHEN THEY WERE INTRODUCING THE GIFTED PROGRAM. I REMEMBER GOING TO MEETINGS ABOUT THAT AND REPORTING BACK.” “[OUR ACTIVISM] VARIES [BY] THE ISSUE, WE WERE VERY ACTIVE WITH THE ANTI-FRACKING. WE WERE DEMONSTRATING ON THE STREETS FOR THAT…I THINK WE WERE MORE INVOLVED WITH DISCUSSING THINGS. I DON’T THINK THE ADVOCACY WAS GREATER [THEN]. I THINK IT’S GREATER NOW.” “I REMEMBER THAT WE USED TO WRITE LETTERS AND THINGS, I THINK AT THE TIME. WE STILL DO THAT ACTUALLY.” “THE MEETINGS ARE ON SATURDAY, THAT’S TO ACCOMMODATE ANYBODY THAT’S WORKING THAT CAN COME. OTHERWISE THEY WOULD PROBABLY BE WORKING OTHER DAYS. THAT WAS PROBABLY WHY, ORIGINALLY, IT WAS DECIDED TO HAVE IT ON THE SATURDAY. SATURDAY AT NOON ACTUALLY. IT USED TO BE IN THE EVENING ALL THE TIME, THIRD MONDAY OF THE MONTH.” “FOR ME IT WAS THE FIRST ORGANIZATION THAT I WAS INTRODUCED TO AND I WAS WORKING. I HAD A WORKING LIFE AND A HOME LIFE WHERE I HAD CHILDREN. I DID BELONG TO SOMETHING ELSE AT ONE TIME, I THINK THE HOME EC ASSOCIATION. I ENJOYED THE PEOPLE IN IT AND IT WAS INTERESTING FOR ME. IT WAS DIFFERENT THAN ANYTHING I HAD DONE, SO THAT’S WHY I CONTINUED.” YOSHIDA ADDED, “I BECAME A MEMBER IN 1968, THE YEAR THAT WE CAME TO LETHBRIDGE, AND I WAS BROUGHT TO THE MEETING BY ANOTHER FACULTY MEMBER’S WIFE, JENNIFER BUTTERFIELD. I THINK SHE KNEW THAT WE WERE NEW TO TOWN AND WE DIDN’T REALLY KNOW ANYBODY. SHE REALLY DID A VERY NICE JOB OF INTRODUCING ME TO LETHBRIDGE AND WHERE THE MEAT MARKET AND VALUE VILLAGE [WERE], PLACES TO SHOP AND PLACES TO GO. CFUW WAS ONE PLACE THAT SHE BROUGHT ME TO. AT THE TIME, I WAS NOT ONLY NEW TO TOWN, BUT I WAS A STAY-AT-HOME WITH A BABY AND DIDN’T HAVE MUCH SOCIAL EXPERIENCES. THIS GROUP MET ONCE A MONTH AND IT WAS MY EVENING OUT AND, AS ROSE SAID, THEY HAD EXCELLENT SPEAKERS ABOUT [TOPICS], PEOPLE FROM THE COMMUNITY WHO WOULD COME AND TALK. IT WAS MY INTELLECTUAL EVENING, IT WAS AWAY FROM DIAPERS AND BABIES AND A CHANCE TO BE WITH ADULTS. THAT, FOR ME, REALLY SERVED A VERY IMPORTANT PURPOSE. AT THAT TIME I DIDN’T REALLY KNOW WHAT IT STOOD FOR AND THE PROVINCIAL OR NATIONAL AGENDAS, IT WAS JUST THAT IT WAS NICE.” “MANY WERE UNIVERSITY WOMEN’S CLUB. AT THE TIME, YOU HAD TO BE A GRADUATE OF A UNIVERSITY OR HAVE A DIPLOMA[TO BE A] FULL-FLEDGED MEMBER. I THINK THEY’RE DESPERATE FOR MEMBERS, BECAUSE I THINK THIS GROUP, AS OTHER GROUPS/CLUBS ARE NOTICING A DECLINE IN INTEREST THAT THEY HAVE TAKEN THAT [REQUIREMENT] AWAY. WHEN ROSE SAYS LIKE-MINDED PEOPLE, THE WOMEN WERE EDUCATED, THEY WERE KEEN, AT THAT TIME IT WAS THE WOMEN’S MOVEMENT, MS MAGAZINE WAS BIG, THE PLACE OF WOMEN AND EQUAL MEMBERS. WE’RE STILL WORKING ON IT…I REMEMBER WHEN IT WAS REALLY IMPORTANT…ALL ALONG IT HAS ALWAYS BEEN [ABOUT] THE STATUS OF WOMEN.” “DAYCARE WAS [AN] IMPORTANT [TOPIC] AT ONE TIME… SOMETIMES THE WOMEN IN OUR GROUP ARE INVOLVED IN OTHER AGENCIES OR GROUPS, SO IT KIND OF MESHES, AND I’M NOT SURE WHERE ONE BEGINS AND THE OTHER ENDS.” “[I JOINED THE GROUP BECAUSE] I GUESS NOBODY ELSE ASKED ME TO JOIN ANYTHING. ALTHOUGH, WHEN YOU ARE A ONE-CAR FAMILY AND YOU HAVE A BABY AND YOU ARE…TRADING, LIKE, I’LL LOOK AFTER YOUR CHILD THIS AFTERNOON SO THAT YOU CAN DO THIS AND THEN IT’S MY TURN, I WAS IN THAT SORT OF SITUATION. I GUESS I WASN’T INTERESTED IN PURSUING OTHER THINGS LIKE KINETTES, THE ‘Y’.” DOYLE ELABORATED ON HER TIME WITH THE CANADIAN FEDERATION OF UNIVERSITY WOMEN, STATING, “I WAS ASKED TO JOIN [THE GROUP BY A FRIEND, PATTY JOHNSON, ABOUT 2008], AND I ENJOY IT VERY MUCH. IT’S A WOMEN’S GROUP, AND WE COLLECT MONEY, FOR A [SCHOLARSHIP]…WE DO TWO SCHOLARSHIPS A YEAR, AND IT’S ALSO A FRIENDSHIP GET-TOGETHER, AND A LEARNING PROCESS. WE HAVE PEOPLE COME IN, AND [TELL] US WHAT’S GOING ON, AND WHAT’S GOING ON IN THE CITY…IT’S REALLY QUITE ENJOYABLE.” “I HAVE TWO DEGREES, SO I ENJOY THE COMPANY OF PEOPLE, THAT WE HAVE A LOT TO TALK ABOUT. I LIKE THE FACT THAT WE ARE GIVING BACK, TO THE KNOWLEDGE THAT WE LEARNED, IN THE FORM OF SCHOLARSHIPS.” “WHEN THIS STARTED, AND IT’S BEEN GOING IN LETHBRIDGE UNDER A DIFFERENT NAME, THE WIVES OF THE PROFESSORS THAT MOVED INTO TOWN, AND THE UNIVERSITY OF LETHBRIDGE WAS FORMED. THEY WERE THE ONES THAT STARTED THIS CHAPTER.” “I THINK MOST OF THE WOMEN THAT MARRIED WERE HOUSEWIVES, AFTER THEY WERE MARRIED, AND HAVING CHILDREN, BUT THEY HAVE DEGREES. THAT WAS THE REQUIREMENT FOR BELONGING – THAT YOU HAD A DEGREE, BUT JUST IN THE NEAR PAST NOW [ABOUT 2 – 3 - 4 YEARS], THE DOORS ARE OPEN TO ALL WOMEN NOW. THERE ARE A FEW PROFESSIONALS IN OTHER AREAS, AND SOME, WE DON’T ASK. IF THEY WANT TO JOIN, THAT’S FINE.” “THEY HAVE A PRESIDENT, VICE-PRESIDENT, SECRETARY. I’M FINDING, AS WE ARE ALL FINDING, AS WE ARE AGING, WE HAVE VERY FEW YOUNGER PEOPLE, BECAUSE THEY ARE ALL AT UNIVERSITY, AND VERY BUSY. THE ONES THAT HAVE JOBS, THEY ARE VERY BUSY TOO. AS WE AGE, WE ARE ALL ACTIVE, AND IT KEEPS US REALLY ACTIVE. IT’S GOOD TO GET OUT, AND BE WITH OTHER PEOPLE.” “WE DO HAVE PEOPLE IN THE GROUP THAT GO TO OTHER THINGS THAT ARE GOING ON, IN DIFFERENT PROVINCES. THEY SOMETIMES DO THE NATIONAL ONE, EVEN, AND FLY SOMEWHERE, AND THAT GOES ON ONCE A YEAR. IT’S CERTAINLY A WORTHWHILE GROUP, AND REALLY QUITE ACTIVE. WE HAVE A YOUNG PRESIDENT NOW, SHE IS DOING HER PHD, AND HER MOTHER IS A PROF [AT THE UNIVERSITY OF LETHBRIDGE].” “I THINK [THE GROUP IS RAISING AWARENESS] THAT TIMES ARE CHANGING. IT HAS BEEN, IN THE PAST, KIND OF SNOBBISH, HAVING TO BE VETTED IN, SO THIS IS REALLY GOOD, AND IT’S WORKED WELL. WE HAVE GOT SOME WONDERFUL PEOPLE WORKING IN [THE GROUP]…WHEN THEY HAD THE WOMEN’S PARADE, THE WOMEN’S PROTEST…THERE WAS A NUMBER OF US THAT PARTICIPATED IN THAT, AND THEY MADE THE HATS FOR IT. WE ARE ACTIVE IN THINGS LIKE THAT, THAT PERTAIN TO WOMEN.” “IT’S LIKE WOMEN ARE RISING, AND THAT SEEMS QUITE APPARENT. I AM IN THE UNIVERSITY BUILDING ENOUGH THAT I SEE IT AMONG THE YOUNG WOMEN. BOY, THEY DON’T LET ANYTHING GO BY. THEY’RE ACTUALLY REALLY QUITE GOOD, I THINK…[SEEING THAT MAKES ME FEEL] REALLY GOOD. IT’S ABOUT TIME. WE HAVE LOTS OF ENGAGEMENT WITH WOMEN—THE PEOPLE AROUND TOWN, WHO ARE THE ‘SHAKERS’ HERE, AND THEY SHAKE THINGS UP. THAT’S REALLY GOOD.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, THE CANADIAN FEDERATION OF UNIVERSITY WOMEN FORMED A CHAPTER IN LETHBRIDGE IN 1944. DR. URSILLA MACDONNELL, DEAN OF WOMEN AT THE UNIVERSITY OF MANITOBA, SPOKE TO A GROUP OF LETHBRIDGE WOMEN ON FORMING A CHAPTER. BY 1958, THE LETHBRIDGE CHAPTER WAS SENDING REPRESENTATIVES FOR THE CANADIAN FEDERATION OF UNIVERSITY WOMEN’S NATIONAL CONVENTION. FOR MORE INFORMATION INCLUDING COPIES OF LETHBRIDGE HERALD ARTICLES AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170038000-GA.
Catalogue Number
P20170038000
Acquisition Date
2017-12
Collection
Museum
Images
Less detail
Other Name
DAISY KNITTER
Date Range From
1931
Date Range To
2000
Material Type
Artifact
Materials
BRASS, PAPER
Catalogue Number
P20030049030
Material Type
Artifact
Other Name
DAISY KNITTER
Date Range From
1931
Date Range To
2000
Materials
BRASS, PAPER
No. Pieces
2
Length
11.5
Width
7.5
Diameter
4.5
Description
CIRCULAR BRASS DEVICE WITH FLAT BASE AND TURING KNOB ON TOP. WHEN KNOB IS TURNED HIDDEN PRONGS EXTEND. TOP EMBOSSED AND READS "DAISY KNITTER - PAT. U.S.A. 1819234". DAISY KNITTER INSTRUCTION PAGE. FOLDED TYPED PAGE IS DISCOLOURED AND BRITTLE. PAGE DISPLAYS DIAGRAM FOR USAGE ALONG WITH WRITTEN INSTRUCTIONS.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
History
SEE P20030049001 FOR COMPLETE HISTORY.
Catalogue Number
P20030049030
Acquisition Date
2003-10
Collection
Museum
Less detail

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