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The Allied Arts Council of Lethbridge; a history

https://collections.galtmuseum.com/en/permalink/library2728
Publisher
Allied Arts Council
Material Type
Book
Material Type
Book
Place
Lethbridge
Publisher
Allied Arts Council
Publication Date
1983
Subjects
Allied Arts Council, Lethbridge, Alberta - History
Call Number
Pamph J65a
Collection
Library
Less detail
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19890006000
  1 image  
Material Type
Artifact
Date
1920
Materials
PAPER
No. Pieces
1
Length
70.7
Width
50.7
Description
HAND COLORED PHOTOGRAPH OF BRITISH KING EDWARD VII IN UNIFORM OF COLONEL OF WELSH GUARDS, CAPTION "PRESENTED BY THE IMPERIAL ORDER OF THE DAUGHTERS OF THE EMPIRE IN MEMORY OF THE MEN AND WOMEN WHO GAVE THEIR LIVES IN THE GREAT WAR 1914-1918". "PRINTED IN ENGLAND"
Subjects
ART
Historical Association
EDUCATION
History
ORIGINALLY HUNG IN ALL ELEMENTARY SCHOOL ROOMS IN LETHBRIDGE & AREA, THIS PHOTO FROM SCHOOL IN PICTURE BUTTE DIST. RETRIEVED BY HARRY WATSON & KEPT IN HIS OFFICE (HARRY WATSON FARM SUPPLY). GIVEN TO DONOR BY JOE WATSON.
Catalogue Number
P19890006000
Acquisition Date
1989-03
Collection
Museum
Images
Less detail
Other Name
"SETTLER HOMESTEAD & GRAIN SILO"
Material Type
Artifact
Materials
PAPER, CHARCOAL, INK
Catalogue Number
P20200016001
  2 images  
Material Type
Artifact
Other Name
"SETTLER HOMESTEAD & GRAIN SILO"
Date
1986
Materials
PAPER, CHARCOAL, INK
No. Pieces
2
Length
28.6
Width
40.5
Description
A. DRAWING. L: 28.6 CM. W: 40.5 CM. A BLACK AND WHITE LANDSCAPE FARMYARD SCENE ON BEIGE PAPER, SHOWING TIED HAYSTACKS IN THE FOREGROUND, FOUR BUILDINGS, GRAIN SILO, AND TWO TREES IN THE BACKGROUND, WITH A ROAD AND FENCE RUNNING HORIZONTALLY ACROSS THE SCENE. HANDWRITTEN TEXT IN THE SKY ABOVE THE SCENE READS, “THIS IS NOT GOOD COMPOSITION.TONE VALUES INCORRECT. ROAD LEADS OUT OF PICTURE, OBJECTS LEAN OUT OF PICTURE, NOTHING IS OVERLAPPING. CREATE YOUR OWN COMPOSITION USING SUBJECT MATERIAL IN SKETCH, ALSO YOUR OWN COLOR SCHEME, STRIVE FOR PERSONAL ARRANGEMENT AND STYLE, NO SMALLER THAN 12” X16” FOR FIRST MEETING IN FALL.” “DELETE ANYTHING YOU WISH OR ADD HUMAN FIGURES, ANIMALS CHICKENS BIRDS IF YOU DESIRE.” “MAR.13/86”. AT THE VERY BOTTOM OF THE DRAWING, IN THE CENTER IS THE SIGNATURE “M. PISKO”. VG. TEAR SHAPED BLACK STAIN, WITH ORANGE-ISH BLEED FROM IT IN BOTTOM LEFT-HAND CORNER. TWO PINHOLES IN EACH TOP CORNER, ONE PINHOLE IN EACH BOTTOM CORNER. B. COPY. L: 28 CM. W: 40.5 CM. PRINTED COPY OF A, EXCEPT ON WHITE PAPER. HANDWRITTEN IN PENCIL BENEATH THE DATE IN THE TOP CORNER IS “MRS HORNSBY”. VG. EDGES AND CORNERS OF PAGE ARE EVER SO SLIGHTLY BENT. VERTICAL FOLD LINE THROUGH THE CENTER.
Subjects
ART
Historical Association
FINE ARTS
EDUCATION
History
ON OCTOBER 8, 2020, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LYLE PENNINGTON REGARDING ANY MEMORIES OF HIS UNCLE “MIKE” MICHAEL PISKO (1913-1999), ABOUT THE DONATED DRAWINGS AND ART MATERIALS. ON SEEING HIS UNCLE PAINT, LYLE RECALLS, “WELL, I CAN REMEMBER MY UNCLE USING THIS WOODEN [EASEL] (P20200016007) BECAUSE WHEN I WAS ABOUT SIX YEARS OLD, HE SET THIS WOODEN EASEL UP. HE WAS BABYSITTING ME THAT ONE DAY...I WAS YOUNG AND HE SET THIS STAND UP AND HE SAID, 'WE’RE GOING TO PAINT A PAINTING TOGETHER.' HE GOT A PALETTE OUT AND HE PUT ALL THESE OIL PAINTS ON AND SHOWED ME HOW TO PUT THEM ALL ON AND THEN GOT THIS KNIFE THING OUT, IT’S A PALETTE KNIFE- IT WAS A FAIRLY BIG ONE AND IT WAS A FAIRLY BIG…PAINTING. IT WAS MAYBE 2 FEET WIDE AND 3 FEET HIGH AND I ASKED HIM WHAT HE WAS GOING TO PAINT AND HE SAID, 'I DON’T KNOW'. THEN HE STARTED SHOWING ME HOW TO MIX THE PAINTS AND PUTTING THEM ON, HE JUST SLOPPED THEM ON AND I KEPT ASKING, 'WHAT IS IT?' AND HE SAYS, 'I HAVEN’T DECIDED.' AND THERE WAS GREENS AND REDS AND YELLOWS. AND I'M WAITING AND WAITING AND I KEPT ASKING WHAT HE WAS PAINTING AND I COULDN’T MAKE HEAD OR TAILS OF IT BECAUSE HE DIDN’T START ANYWHERE. HE WAS PUTTING IT EVERYWHERE AND THEN FINALLY, JUST IN ONE MAGIC STROKE, THERE WAS A WHOLE BOUQUET OF FLOWERS AND I WAS SHOCKED. AND I SAID, 'UNCLE MIKE, THEY’RE FLOWERS.' AND THEN HE CONTINUED ON AND THEN HE SAYS, 'WHAT DO YOU THINK?' AND I SAYS, 'THEY LOOK REAL.' THEN HE SAYS, 'YEAH, I THINK THIS ONE’S GOOD.' AND THEN HE SHOWED ME HOW TO SIGN THE PAINTING- HE TOOK SOME RED PAINT AND THEN HE THINNED IT WITH SOME TURPENTINE AND HE TOOK THIS LITTLE TINY BRUSH AND HE ROLLED IT IN THE RED PAINT AND THEN HE SIGNED HIS NAME ON THE BOTTOM LEFTSIDE…I REMEMBER IT VIVIDLY BECAUSE I COULDN’T BELIEVE THE PAINTING SUDDENLY IN ONE STROKE MADE SENSE, IT WAS LIKE MAGIC. HE KNEW WHAT HE WAS PAINTING BUT I DIDN'T. I HAD NO CLUE. HE JUST GRINNED AT ME WHEN I SAID, 'IT’S FLOWERS.' YEAH, IT WAS A WHOLE BOUQUET OF FLOWERS IN A VASE.” “THAT WAS THE ONE TIME THAT I GOT TO SEE HIM ACTUALLY PAINT A PAINTING. THAT WAS THE ONLY PAINTING I SAW HIM PAINT. I DON’T THINK MANY OTHERS SAW HIM PAINT THE MANY PAINTINGS THAT HE DID. HE DID IT SORT OF PRIVATELY I THINK. I DON’T THINK MY DAD EVER SAW HIM PAINT A PAINTING. BUT HE DID COME OVER ONE TIME – WE HAD A DOOR - IT WAS A METAL DOOR LIKE A SCREEN DOOR AND IT HAD A PHEASANT ON IT AND ALL THE PAINT HAD COME OFF. HE CAME OVER AND REPAINTED THAT PHEASANT. HE PAINTED IT FREEHAND AND IT LOOKED REAL. IT WAS AMAZING. THE ONLY OTHER TIME HE CAME OVER WAS TO HELP PAINT OUR HOUSE, AND HE COULD PAINT WITH A BRUSH FASTER THAN A PERSON COULD PAINT WITH A ROLLER AND IT WAS PERFECT. THOSE ARE THE TIMES I SAW HIM ACTUALLY PAINTING OTHER THAN WHEN I WENT TO HIS SHOP.” ACCORDING TO A LETHBRIDGE HERALD ARTICLE, DATED OCTOBER 6, 1996, BEFORE MICHAEL FINISHED HIGH SCHOOL HE HAD BEGUN WORKING PART-TIME FOR ROBERT BARROWMAN, AN EARLY CITY MAYOR AND OWNER OF CITY SIGN WORKS. 15 YEARS LATER WHEN BARROWMEN SOLD THE COMPANY, MICHAEL AND HIS FELLOW EMPLOYEE NIGEL HILL BOUGHT THE BUSINESS AND RENAMED IT CITY SIGN CO. THIS BUSINESS PARTNERSHIP LASTED UNTIL 1970. ON HIS TIME AT CITY SIGN CO. WITH HIS UNCLE, LYLE ADDED, “…I’D GO IN EVERY ONCE IN A WHILE JUST TO VISIT AND I REMEMBER CARS COMING IN AND HE WOULD DRAW WHATEVER THEY WANTED. THEN HE WOULD TAKE THIS – IT LOOKED LIKE A PIZZA CUTTER WITH A WHEEL ON IT AND HE WOULD RUN IT ALONG THE LINES AND PUNCH LITTLE HOLES IN IT. HE WOULD TAPE THE LOGO ON TO THE CAR, A BRAND NEW CAR OR TRUCK OR WHATEVER. AND THEN HE WOULD PUT CHALK ON IT AND PULL THAT PAPER OFF. THEN HE WOULD PAINT THE LOGO OR SIGN FREE HAND WITH A BRUSH AND OIL PAINTS. AND IT WAS AS GOOD AS ANY SIGN YOU SEE TODAY MADE WITH A MACHINE. YEAH, IT WAS ASTONISHING.” “AND THE ONE DAY WHEN I WAS IN THERE AND I ASKED HIM HOW HE DID THE LETTERING AND HE SAYS, “I’LL SHOW YOU.” HE HAD ALL THIS PAINT ON THE SHELF AND THIS BIG TABLE WHERE HE PUT STUFF AND HE GRABBED A PIECE OF PAPER. HE TOOK A PENCIL AND DREW TWO LINES AND THEY WERE PARALLEL. AND YOU PROBABLY COULD HAVE MEASURED THEM AND THEY WOULD HAVE BEEN EXACTLY PARALLEL, AND THEN HE TOOK HIS BRUSH AND SAYS, “OKAY, I’LL PAINT YOUR NAME, I’LL PAINT LYLE.” AND HE TOOK THIS LONG – JUST A REGULAR BRUSH THAT WAS A KIND OF FLOPPY BRUSH AND HE DIPPED IT INTO SOME OIL PAINT AND HE JUST PAINTED MY NAME JUST L-Y-L-E LIKE THAT IN BLOCK LETTERS, IN A MATTER OF SECONDS AND IT WAS PERFECT. AND HE EXPLAINED THAT WHEN YOU PUT THE LETTERS TOGETHER, SOME LETTERS ARE CLOSER THAN OTHER LETTERS TO MATCH, AND HE EXPLAINED ALL THAT TO ME, HOW YOU WOULD DO THAT. THEN HE TOOK IT AND SAID 'YOU CAN DO ITALICS' AND HE MADE THEM ALL SLOPED EVENLY. AND HE SAID, 'I CAN DO IT LIKE IN A JAPANESE STYLE WHERE THE LETTERS ARE BIG ON THE TOP.' AND HE DID THAT ALL IN OIL AND IT WAS LIKE ANY PRINTER THAT YOU SEE TODAY AND ABOUT THE SPEED OF SLOW WRITING. I WAS ASTONISHED.” “SO I USED TO GO IN ONCE IN A WHILE AND VISIT HIM IN THE SHOP AT THAT TIME AND I REMEMBER ONE TIME I – HE ACTUALLY ENCOURAGED ME TO START PAINTING. I STARTED DOING THAT AND HE GAVE ME SOME HINTS, LITTLE THINGS LIKE PERSPECTIVE, VANISHING POINTS, WHAT WERE THE OTHER THINGS, OH, HOW THICK PAINT DOESN’T STICK TO THIN PAINT AND VICE VERSA, AND WHEN YOU USE OIL PAINTS YOU PAINT FROM THE BACK TO THE FRONT. WHEN YOU USE WATERCOLORS, YOU PAINT LIGHT TO DARK, USUALLY – THAT KIND OF THING. HE HELPED ME WITH THAT KIND OF STUFF. HE WAS SHOWING ME.” REMEMBERING HIS UNCLE, LYLE STATES, ”MY UNCLE WAS A VERY NICE MAN. I NEVER SAW HIM EVER ANGRY, EVER. I NEVER HEARD ANYONE EVER SAY THAT HE WAS ANGRY. ONLY ONCE. ONLY ONE TIME THAT I EVEN HEARD THAT HE WAS ANGRY. ONE TIME HE HAD A PAINTING AND MY AUNT DIDN’T LIKE IT SO SHE TOOK OUT SOME PAINTS AND FIXED IT FOR HIM. AND THAT WAS THE ONLY TIME THAT HE WAS ANGRY, THAT I HAVE EVER KNOWN. I THINK HE FORGAVE HER BUT I DON’T THINK SHE TOUCHED HIS PAINTINGS AFTER THAT. SO BASICALLY MY AUNT AND MY UNCLE WERE NICE AND IT WAS A PLEASURE TO GO OVER AND VISIT HIM. HE WAS SO NICE. AND I’M NOT SAYING THAT BECAUSE HE’S MY UNCLE OR ANYTHING- HE JUST WAS A NICE MAN.” WHEN ASKED ABOUT WHAT HE KNEW AT THE TIME OF HIS UNCLE'S ART CAREER, LYLE ADDS, “I DIDN’T REALLY KNOW [ABOUT IT]. I HAD NO CLUE WHAT HE DID. I DIDN’T KNOW HE WAS A FRIEND OF A.Y. JACKSON AND ALL OF THAT…I GUESS HE SOLD THE PAINTINGS BUT I SAW IT MORE OF A HOBBY BECAUSE HE WOULD PAINT A PAINTING AND THEN RE-PAINT IT, LIKE, IF HE DIDN’T LIKE IT HE WOULD JUST PAINT OVER IT. AND BECAUSE HE WAS A SIGN PAINTER. HE WAS ACTUALLY AN ELECTRICIAN BY TRADE. HE WENT TO SAIT AND BECAME AN ELECTRICIAN BUT COULDN’T GET ANY WORK AND STARTED A SIGN BUSINESS AND [IT], TO ME AS A KID, IT WAS JUST A JOB, LIKE DAD’S JOB THAT KIND OF THING, SO YOU HAVE A JOB [AND] YOU GO TO WORK [AND] SO I DIDN’T THINK IT WAS ANYTHING SPECIAL…I DIDN’T UNDERSTAND, AS A KID,... I WENT OFF DOING MY OWN THING. YEAH…HE WAS CLOSE TO FINISHING [HIS CAREER], BY THE TIME I WAS AN ADULT, HE WAS JUST NEAR DONE.” 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." THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” FOR COPIES OF LETHBRIDGE HERALD ARTICLES ON PISKO AND HIS CAREER, AS WELL AS PROMOTIONAL MATERIALS FOR THE 1995 ARTWALK DEDICATED TO HIM, SEE PERMANENT FILE P19920009001-GA. FOR MORE INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20200016001-GA.
Catalogue Number
P20200016001
Acquisition Date
2020-06
Collection
Museum
Images
Less detail
Other Name
"WHEAT FIELD, ELEVATORS UNDER EASTERN SLOPES"
Date Range From
1980
Date Range To
1989
Material Type
Artifact
Materials
PAPER, CHARCOAL, CHALK
Catalogue Number
P20200016002
  1 image  
Material Type
Artifact
Other Name
"WHEAT FIELD, ELEVATORS UNDER EASTERN SLOPES"
Date Range From
1980
Date Range To
1989
Materials
PAPER, CHARCOAL, CHALK
No. Pieces
1
Length
30.7
Width
40.7
Description
BLACK AND WHITE LANDSCAPE DRAWING OF A FARM FIELD WITH THREE GRAIN ELEVATORS ON THE RIGHT SIDE AND MOUNTAINS ON THE LEFT SIDE IN THE BACKGROUND. FOREGROUND IS TAKEN UP WITH GRASS, BARBED WIRE FENCE, AND TIED HAY BALES LEADING OUT INTO THE FIELD. UNSIGNED AND UN-DATED. 3-4 PINHOLES IN ALL FOUR CORNERS, AND TWO MORE IN CENTER TOP EDGE. SLIGHT SMUDGES ON BACK OF PAPER. SLIGHTEST OF WAVE TO THE PAPER.
Subjects
ART
Historical Association
FINE ARTS
EDUCATION
History
ON OCTOBER 8, 2020, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LYLE PENNINGTON REGARDING ANY MEMORIES OF HIS UNCLE “MIKE” MICHAEL PISKO (1913-1999), ABOUT THE DONATED DRAWINGS AND ART MATERIALS. ON SEEING HIS UNCLE PAINT, LYLE RECALLS, “WELL, I CAN REMEMBER MY UNCLE USING THIS WOODEN [EASEL] (P20200016007) BECAUSE WHEN I WAS ABOUT SIX YEARS OLD, HE SET THIS WOODEN EASEL UP. HE WAS BABYSITTING ME THAT ONE DAY...I WAS YOUNG AND HE SET THIS STAND UP AND HE SAID, 'WE’RE GOING TO PAINT A PAINTING TOGETHER.' HE GOT A PALETTE OUT AND HE PUT ALL THESE OIL PAINTS ON AND SHOWED ME HOW TO PUT THEM ALL ON AND THEN GOT THIS KNIFE THING OUT, IT’S A PALETTE KNIFE- IT WAS A FAIRLY BIG ONE AND IT WAS A FAIRLY BIG…PAINTING. IT WAS MAYBE 2 FEET WIDE AND 3 FEET HIGH AND I ASKED HIM WHAT HE WAS GOING TO PAINT AND HE SAID, 'I DON’T KNOW'. THEN HE STARTED SHOWING ME HOW TO MIX THE PAINTS AND PUTTING THEM ON, HE JUST SLOPPED THEM ON AND I KEPT ASKING, 'WHAT IS IT?' AND HE SAYS, 'I HAVEN’T DECIDED.' AND THERE WAS GREENS AND REDS AND YELLOWS. AND I'M WAITING AND WAITING AND I KEPT ASKING WHAT HE WAS PAINTING AND I COULDN’T MAKE HEAD OR TAILS OF IT BECAUSE HE DIDN’T START ANYWHERE. HE WAS PUTTING IT EVERYWHERE AND THEN FINALLY, JUST IN ONE MAGIC STROKE, THERE WAS A WHOLE BOUQUET OF FLOWERS AND I WAS SHOCKED. AND I SAID, 'UNCLE MIKE, THEY’RE FLOWERS.' AND THEN HE CONTINUED ON AND THEN HE SAYS, 'WHAT DO YOU THINK?' AND I SAYS, 'THEY LOOK REAL.' THEN HE SAYS, 'YEAH, I THINK THIS ONE’S GOOD.' AND THEN HE SHOWED ME HOW TO SIGN THE PAINTING- HE TOOK SOME RED PAINT AND THEN HE THINNED IT WITH SOME TURPENTINE AND HE TOOK THIS LITTLE TINY BRUSH AND HE ROLLED IT IN THE RED PAINT AND THEN HE SIGNED HIS NAME ON THE BOTTOM LEFTSIDE…I REMEMBER IT VIVIDLY BECAUSE I COULDN’T BELIEVE THE PAINTING SUDDENLY IN ONE STROKE MADE SENSE, IT WAS LIKE MAGIC. HE KNEW WHAT HE WAS PAINTING BUT I DIDN'T. I HAD NO CLUE. HE JUST GRINNED AT ME WHEN I SAID, 'IT’S FLOWERS.' YEAH, IT WAS A WHOLE BOUQUET OF FLOWERS IN A VASE.” “THAT WAS THE ONE TIME THAT I GOT TO SEE HIM ACTUALLY PAINT A PAINTING. THAT WAS THE ONLY PAINTING I SAW HIM PAINT. I DON’T THINK MANY OTHERS SAW HIM PAINT THE MANY PAINTINGS THAT HE DID. HE DID IT SORT OF PRIVATELY I THINK. I DON’T THINK MY DAD EVER SAW HIM PAINT A PAINTING. BUT HE DID COME OVER ONE TIME – WE HAD A DOOR - IT WAS A METAL DOOR LIKE A SCREEN DOOR AND IT HAD A PHEASANT ON IT AND ALL THE PAINT HAD COME OFF. HE CAME OVER AND REPAINTED THAT PHEASANT. HE PAINTED IT FREEHAND AND IT LOOKED REAL. IT WAS AMAZING. THE ONLY OTHER TIME HE CAME OVER WAS TO HELP PAINT OUR HOUSE, AND HE COULD PAINT WITH A BRUSH FASTER THAN A PERSON COULD PAINT WITH A ROLLER AND IT WAS PERFECT. THOSE ARE THE TIMES I SAW HIM ACTUALLY PAINTING OTHER THAN WHEN I WENT TO HIS SHOP.” ACCORDING TO A LETHBRIDGE HERALD ARTICLE, DATED OCTOBER 6, 1996, BEFORE MICHAEL FINISHED HIGH SCHOOL HE HAD BEGUN WORKING PART-TIME FOR ROBERT BARROWMAN, AN EARLY CITY MAYOR AND OWNER OF CITY SIGN WORKS. 15 YEARS LATER WHEN BARROWMEN SOLD THE COMPANY, MICHAEL AND HIS FELLOW EMPLOYEE NIGEL HILL BOUGHT THE BUSINESS AND RENAMED IT CITY SIGN CO. THIS BUSINESS PARTNERSHIP LASTED UNTIL 1970. ON HIS TIME AT CITY SIGN CO. WITH HIS UNCLE, LYLE ADDED, “…I’D GO IN EVERY ONCE IN A WHILE JUST TO VISIT AND I REMEMBER CARS COMING IN AND HE WOULD DRAW WHATEVER THEY WANTED. THEN HE WOULD TAKE THIS – IT LOOKED LIKE A PIZZA CUTTER WITH A WHEEL ON IT AND HE WOULD RUN IT ALONG THE LINES AND PUNCH LITTLE HOLES IN IT. HE WOULD TAPE THE LOGO ON TO THE CAR, A BRAND NEW CAR OR TRUCK OR WHATEVER. AND THEN HE WOULD PUT CHALK ON IT AND PULL THAT PAPER OFF. THEN HE WOULD PAINT THE LOGO OR SIGN FREE HAND WITH A BRUSH AND OIL PAINTS. AND IT WAS AS GOOD AS ANY SIGN YOU SEE TODAY MADE WITH A MACHINE. YEAH, IT WAS ASTONISHING.” “AND THE ONE DAY WHEN I WAS IN THERE AND I ASKED HIM HOW HE DID THE LETTERING AND HE SAYS, “I’LL SHOW YOU.” HE HAD ALL THIS PAINT ON THE SHELF AND THIS BIG TABLE WHERE HE PUT STUFF AND HE GRABBED A PIECE OF PAPER. HE TOOK A PENCIL AND DREW TWO LINES AND THEY WERE PARALLEL. AND YOU PROBABLY COULD HAVE MEASURED THEM AND THEY WOULD HAVE BEEN EXACTLY PARALLEL, AND THEN HE TOOK HIS BRUSH AND SAYS, “OKAY, I’LL PAINT YOUR NAME, I’LL PAINT LYLE.” AND HE TOOK THIS LONG – JUST A REGULAR BRUSH THAT WAS A KIND OF FLOPPY BRUSH AND HE DIPPED IT INTO SOME OIL PAINT AND HE JUST PAINTED MY NAME JUST L-Y-L-E LIKE THAT IN BLOCK LETTERS, IN A MATTER OF SECONDS AND IT WAS PERFECT. AND HE EXPLAINED THAT WHEN YOU PUT THE LETTERS TOGETHER, SOME LETTERS ARE CLOSER THAN OTHER LETTERS TO MATCH, AND HE EXPLAINED ALL THAT TO ME, HOW YOU WOULD DO THAT. THEN HE TOOK IT AND SAID 'YOU CAN DO ITALICS' AND HE MADE THEM ALL SLOPED EVENLY. AND HE SAID, 'I CAN DO IT LIKE IN A JAPANESE STYLE WHERE THE LETTERS ARE BIG ON THE TOP.' AND HE DID THAT ALL IN OIL AND IT WAS LIKE ANY PRINTER THAT YOU SEE TODAY AND ABOUT THE SPEED OF SLOW WRITING. I WAS ASTONISHED.” “SO I USED TO GO IN ONCE IN A WHILE AND VISIT HIM IN THE SHOP AT THAT TIME AND I REMEMBER ONE TIME I – HE ACTUALLY ENCOURAGED ME TO START PAINTING. I STARTED DOING THAT AND HE GAVE ME SOME HINTS, LITTLE THINGS LIKE PERSPECTIVE, VANISHING POINTS, WHAT WERE THE OTHER THINGS, OH, HOW THICK PAINT DOESN’T STICK TO THIN PAINT AND VICE VERSA, AND WHEN YOU USE OIL PAINTS YOU PAINT FROM THE BACK TO THE FRONT. WHEN YOU USE WATERCOLORS, YOU PAINT LIGHT TO DARK, USUALLY – THAT KIND OF THING. HE HELPED ME WITH THAT KIND OF STUFF. HE WAS SHOWING ME.” REMEMBERING HIS UNCLE, LYLE STATES, ”MY UNCLE WAS A VERY NICE MAN. I NEVER SAW HIM EVER ANGRY, EVER. I NEVER HEARD ANYONE EVER SAY THAT HE WAS ANGRY. ONLY ONCE. ONLY ONE TIME THAT I EVEN HEARD THAT HE WAS ANGRY. ONE TIME HE HAD A PAINTING AND MY AUNT DIDN’T LIKE IT SO SHE TOOK OUT SOME PAINTS AND FIXED IT FOR HIM. AND THAT WAS THE ONLY TIME THAT HE WAS ANGRY, THAT I HAVE EVER KNOWN. I THINK HE FORGAVE HER BUT I DON’T THINK SHE TOUCHED HIS PAINTINGS AFTER THAT. SO BASICALLY MY AUNT AND MY UNCLE WERE NICE AND IT WAS A PLEASURE TO GO OVER AND VISIT HIM. HE WAS SO NICE. AND I’M NOT SAYING THAT BECAUSE HE’S MY UNCLE OR ANYTHING- HE JUST WAS A NICE MAN.” WHEN ASKED ABOUT WHAT HE KNEW AT THE TIME OF HIS UNCLE'S ART CAREER, LYLE ADDS, “I DIDN’T REALLY KNOW [ABOUT IT]. I HAD NO CLUE WHAT HE DID. I DIDN’T KNOW HE WAS A FRIEND OF A.Y. JACKSON AND ALL OF THAT…I GUESS HE SOLD THE PAINTINGS BUT I SAW IT MORE OF A HOBBY BECAUSE HE WOULD PAINT A PAINTING AND THEN RE-PAINT IT, LIKE, IF HE DIDN’T LIKE IT HE WOULD JUST PAINT OVER IT. AND BECAUSE HE WAS A SIGN PAINTER. HE WAS ACTUALLY AN ELECTRICIAN BY TRADE. HE WENT TO SAIT AND BECAME AN ELECTRICIAN BUT COULDN’T GET ANY WORK AND STARTED A SIGN BUSINESS AND [IT], TO ME AS A KID, IT WAS JUST A JOB, LIKE DAD’S JOB THAT KIND OF THING, SO YOU HAVE A JOB [AND] YOU GO TO WORK [AND] SO I DIDN’T THINK IT WAS ANYTHING SPECIAL…I DIDN’T UNDERSTAND, AS A KID,... I WENT OFF DOING MY OWN THING. YEAH…HE WAS CLOSE TO FINISHING [HIS CAREER], BY THE TIME I WAS AN ADULT, HE WAS JUST NEAR DONE.” 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." THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” FOR COPIES OF LETHBRIDGE HERALD ARTICLES ON PISKO AND HIS CAREER, AS WELL AS PROMOTIONAL MATERIALS FOR THE 1995 ARTWALK DEDICATED TO HIM, SEE PERMANENT FILE P19920009001-GA. FOR MORE INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20200016001-GA.
Catalogue Number
P20200016002
Acquisition Date
2020-06
Collection
Museum
Images
Less detail
Other Name
"WHEAT FIELD, ELEVATORS UNDER EASTERN SLOPES"
Date Range From
1980
Date Range To
1989
Material Type
Artifact
Materials
PAPER, CHARCOAL, CHALK
Catalogue Number
P20200016003
  1 image  
Material Type
Artifact
Other Name
"WHEAT FIELD, ELEVATORS UNDER EASTERN SLOPES"
Date Range From
1980
Date Range To
1989
Materials
PAPER, CHARCOAL, CHALK
No. Pieces
1
Length
30.5
Width
40.8
Description
BLACK AND WHITE LANDSCAPE DRAWING OF A FARM FIELD WITH FOUR GRAIN ELEVATORS ON THE RIGHT SIDE AND MOUNTAINS ON THE LEFT SIDE IN THE BACKGROUND. FOREGROUND IS TAKEN UP WITH GRASS, BARBED WIRE FENCE, AND TIED HAY BALES LEADING OUT INTO THE FIELD. UNSIGNED AND UN-DATED. 3-4 PINHOLES IN ALL FOUR CORNERS, AND ONE MORE IN CENTER TOP EDGE. O.5 CM TEAR ON BOTTOM LEFT EDGE OF THE DRAWING. SLIGHTEST BENDS ON CORNERS.
Subjects
ART
Historical Association
FINE ARTS
EDUCATION
History
ON OCTOBER 8, 2020, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LYLE PENNINGTON REGARDING ANY MEMORIES OF HIS UNCLE “MIKE” MICHAEL PISKO (1913-1999), ABOUT THE DONATED DRAWINGS AND ART MATERIALS. ON SEEING HIS UNCLE PAINT, LYLE RECALLS, “WELL, I CAN REMEMBER MY UNCLE USING THIS WOODEN [EASEL] (P20200016007) BECAUSE WHEN I WAS ABOUT SIX YEARS OLD, HE SET THIS WOODEN EASEL UP. HE WAS BABYSITTING ME THAT ONE DAY...I WAS YOUNG AND HE SET THIS STAND UP AND HE SAID, 'WE’RE GOING TO PAINT A PAINTING TOGETHER.' HE GOT A PALETTE OUT AND HE PUT ALL THESE OIL PAINTS ON AND SHOWED ME HOW TO PUT THEM ALL ON AND THEN GOT THIS KNIFE THING OUT, IT’S A PALETTE KNIFE- IT WAS A FAIRLY BIG ONE AND IT WAS A FAIRLY BIG…PAINTING. IT WAS MAYBE 2 FEET WIDE AND 3 FEET HIGH AND I ASKED HIM WHAT HE WAS GOING TO PAINT AND HE SAID, 'I DON’T KNOW'. THEN HE STARTED SHOWING ME HOW TO MIX THE PAINTS AND PUTTING THEM ON, HE JUST SLOPPED THEM ON AND I KEPT ASKING, 'WHAT IS IT?' AND HE SAYS, 'I HAVEN’T DECIDED.' AND THERE WAS GREENS AND REDS AND YELLOWS. AND I'M WAITING AND WAITING AND I KEPT ASKING WHAT HE WAS PAINTING AND I COULDN’T MAKE HEAD OR TAILS OF IT BECAUSE HE DIDN’T START ANYWHERE. HE WAS PUTTING IT EVERYWHERE AND THEN FINALLY, JUST IN ONE MAGIC STROKE, THERE WAS A WHOLE BOUQUET OF FLOWERS AND I WAS SHOCKED. AND I SAID, 'UNCLE MIKE, THEY’RE FLOWERS.' AND THEN HE CONTINUED ON AND THEN HE SAYS, 'WHAT DO YOU THINK?' AND I SAYS, 'THEY LOOK REAL.' THEN HE SAYS, 'YEAH, I THINK THIS ONE’S GOOD.' AND THEN HE SHOWED ME HOW TO SIGN THE PAINTING- HE TOOK SOME RED PAINT AND THEN HE THINNED IT WITH SOME TURPENTINE AND HE TOOK THIS LITTLE TINY BRUSH AND HE ROLLED IT IN THE RED PAINT AND THEN HE SIGNED HIS NAME ON THE BOTTOM LEFTSIDE…I REMEMBER IT VIVIDLY BECAUSE I COULDN’T BELIEVE THE PAINTING SUDDENLY IN ONE STROKE MADE SENSE, IT WAS LIKE MAGIC. HE KNEW WHAT HE WAS PAINTING BUT I DIDN'T. I HAD NO CLUE. HE JUST GRINNED AT ME WHEN I SAID, 'IT’S FLOWERS.' YEAH, IT WAS A WHOLE BOUQUET OF FLOWERS IN A VASE.” “THAT WAS THE ONE TIME THAT I GOT TO SEE HIM ACTUALLY PAINT A PAINTING. THAT WAS THE ONLY PAINTING I SAW HIM PAINT. I DON’T THINK MANY OTHERS SAW HIM PAINT THE MANY PAINTINGS THAT HE DID. HE DID IT SORT OF PRIVATELY I THINK. I DON’T THINK MY DAD EVER SAW HIM PAINT A PAINTING. BUT HE DID COME OVER ONE TIME – WE HAD A DOOR - IT WAS A METAL DOOR LIKE A SCREEN DOOR AND IT HAD A PHEASANT ON IT AND ALL THE PAINT HAD COME OFF. HE CAME OVER AND REPAINTED THAT PHEASANT. HE PAINTED IT FREEHAND AND IT LOOKED REAL. IT WAS AMAZING. THE ONLY OTHER TIME HE CAME OVER WAS TO HELP PAINT OUR HOUSE, AND HE COULD PAINT WITH A BRUSH FASTER THAN A PERSON COULD PAINT WITH A ROLLER AND IT WAS PERFECT. THOSE ARE THE TIMES I SAW HIM ACTUALLY PAINTING OTHER THAN WHEN I WENT TO HIS SHOP.” ACCORDING TO A LETHBRIDGE HERALD ARTICLE, DATED OCTOBER 6, 1996, BEFORE MICHAEL FINISHED HIGH SCHOOL HE HAD BEGUN WORKING PART-TIME FOR ROBERT BARROWMAN, AN EARLY CITY MAYOR AND OWNER OF CITY SIGN WORKS. 15 YEARS LATER WHEN BARROWMEN SOLD THE COMPANY, MICHAEL AND HIS FELLOW EMPLOYEE NIGEL HILL BOUGHT THE BUSINESS AND RENAMED IT CITY SIGN CO. THIS BUSINESS PARTNERSHIP LASTED UNTIL 1970. ON HIS TIME AT CITY SIGN CO. WITH HIS UNCLE, LYLE ADDED, “…I’D GO IN EVERY ONCE IN A WHILE JUST TO VISIT AND I REMEMBER CARS COMING IN AND HE WOULD DRAW WHATEVER THEY WANTED. THEN HE WOULD TAKE THIS – IT LOOKED LIKE A PIZZA CUTTER WITH A WHEEL ON IT AND HE WOULD RUN IT ALONG THE LINES AND PUNCH LITTLE HOLES IN IT. HE WOULD TAPE THE LOGO ON TO THE CAR, A BRAND NEW CAR OR TRUCK OR WHATEVER. AND THEN HE WOULD PUT CHALK ON IT AND PULL THAT PAPER OFF. THEN HE WOULD PAINT THE LOGO OR SIGN FREE HAND WITH A BRUSH AND OIL PAINTS. AND IT WAS AS GOOD AS ANY SIGN YOU SEE TODAY MADE WITH A MACHINE. YEAH, IT WAS ASTONISHING.” “AND THE ONE DAY WHEN I WAS IN THERE AND I ASKED HIM HOW HE DID THE LETTERING AND HE SAYS, “I’LL SHOW YOU.” HE HAD ALL THIS PAINT ON THE SHELF AND THIS BIG TABLE WHERE HE PUT STUFF AND HE GRABBED A PIECE OF PAPER. HE TOOK A PENCIL AND DREW TWO LINES AND THEY WERE PARALLEL. AND YOU PROBABLY COULD HAVE MEASURED THEM AND THEY WOULD HAVE BEEN EXACTLY PARALLEL, AND THEN HE TOOK HIS BRUSH AND SAYS, “OKAY, I’LL PAINT YOUR NAME, I’LL PAINT LYLE.” AND HE TOOK THIS LONG – JUST A REGULAR BRUSH THAT WAS A KIND OF FLOPPY BRUSH AND HE DIPPED IT INTO SOME OIL PAINT AND HE JUST PAINTED MY NAME JUST L-Y-L-E LIKE THAT IN BLOCK LETTERS, IN A MATTER OF SECONDS AND IT WAS PERFECT. AND HE EXPLAINED THAT WHEN YOU PUT THE LETTERS TOGETHER, SOME LETTERS ARE CLOSER THAN OTHER LETTERS TO MATCH, AND HE EXPLAINED ALL THAT TO ME, HOW YOU WOULD DO THAT. THEN HE TOOK IT AND SAID 'YOU CAN DO ITALICS' AND HE MADE THEM ALL SLOPED EVENLY. AND HE SAID, 'I CAN DO IT LIKE IN A JAPANESE STYLE WHERE THE LETTERS ARE BIG ON THE TOP.' AND HE DID THAT ALL IN OIL AND IT WAS LIKE ANY PRINTER THAT YOU SEE TODAY AND ABOUT THE SPEED OF SLOW WRITING. I WAS ASTONISHED.” “SO I USED TO GO IN ONCE IN A WHILE AND VISIT HIM IN THE SHOP AT THAT TIME AND I REMEMBER ONE TIME I – HE ACTUALLY ENCOURAGED ME TO START PAINTING. I STARTED DOING THAT AND HE GAVE ME SOME HINTS, LITTLE THINGS LIKE PERSPECTIVE, VANISHING POINTS, WHAT WERE THE OTHER THINGS, OH, HOW THICK PAINT DOESN’T STICK TO THIN PAINT AND VICE VERSA, AND WHEN YOU USE OIL PAINTS YOU PAINT FROM THE BACK TO THE FRONT. WHEN YOU USE WATERCOLORS, YOU PAINT LIGHT TO DARK, USUALLY – THAT KIND OF THING. HE HELPED ME WITH THAT KIND OF STUFF. HE WAS SHOWING ME.” REMEMBERING HIS UNCLE, LYLE STATES, ”MY UNCLE WAS A VERY NICE MAN. I NEVER SAW HIM EVER ANGRY, EVER. I NEVER HEARD ANYONE EVER SAY THAT HE WAS ANGRY. ONLY ONCE. ONLY ONE TIME THAT I EVEN HEARD THAT HE WAS ANGRY. ONE TIME HE HAD A PAINTING AND MY AUNT DIDN’T LIKE IT SO SHE TOOK OUT SOME PAINTS AND FIXED IT FOR HIM. AND THAT WAS THE ONLY TIME THAT HE WAS ANGRY, THAT I HAVE EVER KNOWN. I THINK HE FORGAVE HER BUT I DON’T THINK SHE TOUCHED HIS PAINTINGS AFTER THAT. SO BASICALLY MY AUNT AND MY UNCLE WERE NICE AND IT WAS A PLEASURE TO GO OVER AND VISIT HIM. HE WAS SO NICE. AND I’M NOT SAYING THAT BECAUSE HE’S MY UNCLE OR ANYTHING- HE JUST WAS A NICE MAN.” WHEN ASKED ABOUT WHAT HE KNEW AT THE TIME OF HIS UNCLE'S ART CAREER, LYLE ADDS, “I DIDN’T REALLY KNOW [ABOUT IT]. I HAD NO CLUE WHAT HE DID. I DIDN’T KNOW HE WAS A FRIEND OF A.Y. JACKSON AND ALL OF THAT…I GUESS HE SOLD THE PAINTINGS BUT I SAW IT MORE OF A HOBBY BECAUSE HE WOULD PAINT A PAINTING AND THEN RE-PAINT IT, LIKE, IF HE DIDN’T LIKE IT HE WOULD JUST PAINT OVER IT. AND BECAUSE HE WAS A SIGN PAINTER. HE WAS ACTUALLY AN ELECTRICIAN BY TRADE. HE WENT TO SAIT AND BECAME AN ELECTRICIAN BUT COULDN’T GET ANY WORK AND STARTED A SIGN BUSINESS AND [IT], TO ME AS A KID, IT WAS JUST A JOB, LIKE DAD’S JOB THAT KIND OF THING, SO YOU HAVE A JOB [AND] YOU GO TO WORK [AND] SO I DIDN’T THINK IT WAS ANYTHING SPECIAL…I DIDN’T UNDERSTAND, AS A KID,... I WENT OFF DOING MY OWN THING. YEAH…HE WAS CLOSE TO FINISHING [HIS CAREER], BY THE TIME I WAS AN ADULT, HE WAS JUST NEAR DONE.” 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." THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” FOR COPIES OF LETHBRIDGE HERALD ARTICLES ON PISKO AND HIS CAREER, AS WELL AS PROMOTIONAL MATERIALS FOR THE 1995 ARTWALK DEDICATED TO HIM, SEE PERMANENT FILE P19920009001-GA. FOR MORE INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20200016001-GA.
Catalogue Number
P20200016003
Acquisition Date
2020-06
Collection
Museum
Images
Less detail
Other Name
"ARTIST’S CONCEPTION OF THE EARLY 1900S HOMESTEAD COTTAGE OF MR. & MRS. NEILS NELSON, PIONEER SETTLERS OF THE KIMBALL AREA"
Material Type
Artifact
Materials
PAPER, INK, PENCIL
Catalogue Number
P20200016006
  1 image  
Material Type
Artifact
Other Name
"ARTIST’S CONCEPTION OF THE EARLY 1900S HOMESTEAD COTTAGE OF MR. & MRS. NEILS NELSON, PIONEER SETTLERS OF THE KIMBALL AREA"
Date
1988
Materials
PAPER, INK, PENCIL
No. Pieces
1
Length
27.9
Width
40
Description
PRINTED LANDSCAPE OF A HOMESTEAD, EMBELLISHED WITH PENCIL IN AREAS. CENTER OF THE DRAWING IS TAKEN UP BY TWO BUILDING, ONE IN FRONT OF THE OTHER, WITH TWO LINES OF BARBED WIRE FENCE IN FRONT. FARMER, HORSES AND COWS ARE IN THE SCENE. BACKGROUND IS MOUNTAINS, WITH THE FOREGROUND TAKEN UP BY TWO GRASSY HILLS. TEXT BOX IN THE BOTTOM LEFT CORNER READS, “ARTIST’S CONCEPTION OF THE EARLY 1900’S HOMESTEAD COTTAGE OF MR. & MRS. NEILS NELSON, PIONEER SETTLERS OF THE KIMBALL AREA”. SIGNED AND DATED IN BOTTOM RIGHT CORNER, “M.PISKO ‘88”. BACK OF PAPER HAS PENCIL RUBBING MARKS IN A GENERAL MIRROR SHAPE OF THE SCENE ON THE FRONT OF THE PAPER. TOP RIGHT CORNER OF PAPER IS BENT OVER. SLIGHT CREASING THROUGH PAGE.
Subjects
ART
Historical Association
FINE ARTS
EDUCATION
History
ON OCTOBER 8, 2020, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LYLE PENNINGTON REGARDING ANY MEMORIES OF HIS UNCLE “MIKE” MICHAEL PISKO (1913-1999), ABOUT THE DONATED DRAWINGS AND ART MATERIALS. ON SEEING HIS UNCLE PAINT, LYLE RECALLS, “WELL, I CAN REMEMBER MY UNCLE USING THIS WOODEN [EASEL] (P20200016007) BECAUSE WHEN I WAS ABOUT SIX YEARS OLD, HE SET THIS WOODEN EASEL UP. HE WAS BABYSITTING ME THAT ONE DAY...I WAS YOUNG AND HE SET THIS STAND UP AND HE SAID, 'WE’RE GOING TO PAINT A PAINTING TOGETHER.' HE GOT A PALETTE OUT AND HE PUT ALL THESE OIL PAINTS ON AND SHOWED ME HOW TO PUT THEM ALL ON AND THEN GOT THIS KNIFE THING OUT, IT’S A PALETTE KNIFE- IT WAS A FAIRLY BIG ONE AND IT WAS A FAIRLY BIG…PAINTING. IT WAS MAYBE 2 FEET WIDE AND 3 FEET HIGH AND I ASKED HIM WHAT HE WAS GOING TO PAINT AND HE SAID, 'I DON’T KNOW'. THEN HE STARTED SHOWING ME HOW TO MIX THE PAINTS AND PUTTING THEM ON, HE JUST SLOPPED THEM ON AND I KEPT ASKING, 'WHAT IS IT?' AND HE SAYS, 'I HAVEN’T DECIDED.' AND THERE WAS GREENS AND REDS AND YELLOWS. AND I'M WAITING AND WAITING AND I KEPT ASKING WHAT HE WAS PAINTING AND I COULDN’T MAKE HEAD OR TAILS OF IT BECAUSE HE DIDN’T START ANYWHERE. HE WAS PUTTING IT EVERYWHERE AND THEN FINALLY, JUST IN ONE MAGIC STROKE, THERE WAS A WHOLE BOUQUET OF FLOWERS AND I WAS SHOCKED. AND I SAID, 'UNCLE MIKE, THEY’RE FLOWERS.' AND THEN HE CONTINUED ON AND THEN HE SAYS, 'WHAT DO YOU THINK?' AND I SAYS, 'THEY LOOK REAL.' THEN HE SAYS, 'YEAH, I THINK THIS ONE’S GOOD.' AND THEN HE SHOWED ME HOW TO SIGN THE PAINTING- HE TOOK SOME RED PAINT AND THEN HE THINNED IT WITH SOME TURPENTINE AND HE TOOK THIS LITTLE TINY BRUSH AND HE ROLLED IT IN THE RED PAINT AND THEN HE SIGNED HIS NAME ON THE BOTTOM LEFTSIDE…I REMEMBER IT VIVIDLY BECAUSE I COULDN’T BELIEVE THE PAINTING SUDDENLY IN ONE STROKE MADE SENSE, IT WAS LIKE MAGIC. HE KNEW WHAT HE WAS PAINTING BUT I DIDN'T. I HAD NO CLUE. HE JUST GRINNED AT ME WHEN I SAID, 'IT’S FLOWERS.' YEAH, IT WAS A WHOLE BOUQUET OF FLOWERS IN A VASE.” “THAT WAS THE ONE TIME THAT I GOT TO SEE HIM ACTUALLY PAINT A PAINTING. THAT WAS THE ONLY PAINTING I SAW HIM PAINT. I DON’T THINK MANY OTHERS SAW HIM PAINT THE MANY PAINTINGS THAT HE DID. HE DID IT SORT OF PRIVATELY I THINK. I DON’T THINK MY DAD EVER SAW HIM PAINT A PAINTING. BUT HE DID COME OVER ONE TIME – WE HAD A DOOR - IT WAS A METAL DOOR LIKE A SCREEN DOOR AND IT HAD A PHEASANT ON IT AND ALL THE PAINT HAD COME OFF. HE CAME OVER AND REPAINTED THAT PHEASANT. HE PAINTED IT FREEHAND AND IT LOOKED REAL. IT WAS AMAZING. THE ONLY OTHER TIME HE CAME OVER WAS TO HELP PAINT OUR HOUSE, AND HE COULD PAINT WITH A BRUSH FASTER THAN A PERSON COULD PAINT WITH A ROLLER AND IT WAS PERFECT. THOSE ARE THE TIMES I SAW HIM ACTUALLY PAINTING OTHER THAN WHEN I WENT TO HIS SHOP.” ACCORDING TO A LETHBRIDGE HERALD ARTICLE, DATED OCTOBER 6, 1996, BEFORE MICHAEL FINISHED HIGH SCHOOL HE HAD BEGUN WORKING PART-TIME FOR ROBERT BARROWMAN, AN EARLY CITY MAYOR AND OWNER OF CITY SIGN WORKS. 15 YEARS LATER WHEN BARROWMEN SOLD THE COMPANY, MICHAEL AND HIS FELLOW EMPLOYEE NIGEL HILL BOUGHT THE BUSINESS AND RENAMED IT CITY SIGN CO. THIS BUSINESS PARTNERSHIP LASTED UNTIL 1970. ON HIS TIME AT CITY SIGN CO. WITH HIS UNCLE, LYLE ADDED, “…I’D GO IN EVERY ONCE IN A WHILE JUST TO VISIT AND I REMEMBER CARS COMING IN AND HE WOULD DRAW WHATEVER THEY WANTED. THEN HE WOULD TAKE THIS – IT LOOKED LIKE A PIZZA CUTTER WITH A WHEEL ON IT AND HE WOULD RUN IT ALONG THE LINES AND PUNCH LITTLE HOLES IN IT. HE WOULD TAPE THE LOGO ON TO THE CAR, A BRAND NEW CAR OR TRUCK OR WHATEVER. AND THEN HE WOULD PUT CHALK ON IT AND PULL THAT PAPER OFF. THEN HE WOULD PAINT THE LOGO OR SIGN FREE HAND WITH A BRUSH AND OIL PAINTS. AND IT WAS AS GOOD AS ANY SIGN YOU SEE TODAY MADE WITH A MACHINE. YEAH, IT WAS ASTONISHING.” “AND THE ONE DAY WHEN I WAS IN THERE AND I ASKED HIM HOW HE DID THE LETTERING AND HE SAYS, “I’LL SHOW YOU.” HE HAD ALL THIS PAINT ON THE SHELF AND THIS BIG TABLE WHERE HE PUT STUFF AND HE GRABBED A PIECE OF PAPER. HE TOOK A PENCIL AND DREW TWO LINES AND THEY WERE PARALLEL. AND YOU PROBABLY COULD HAVE MEASURED THEM AND THEY WOULD HAVE BEEN EXACTLY PARALLEL, AND THEN HE TOOK HIS BRUSH AND SAYS, “OKAY, I’LL PAINT YOUR NAME, I’LL PAINT LYLE.” AND HE TOOK THIS LONG – JUST A REGULAR BRUSH THAT WAS A KIND OF FLOPPY BRUSH AND HE DIPPED IT INTO SOME OIL PAINT AND HE JUST PAINTED MY NAME JUST L-Y-L-E LIKE THAT IN BLOCK LETTERS, IN A MATTER OF SECONDS AND IT WAS PERFECT. AND HE EXPLAINED THAT WHEN YOU PUT THE LETTERS TOGETHER, SOME LETTERS ARE CLOSER THAN OTHER LETTERS TO MATCH, AND HE EXPLAINED ALL THAT TO ME, HOW YOU WOULD DO THAT. THEN HE TOOK IT AND SAID 'YOU CAN DO ITALICS' AND HE MADE THEM ALL SLOPED EVENLY. AND HE SAID, 'I CAN DO IT LIKE IN A JAPANESE STYLE WHERE THE LETTERS ARE BIG ON THE TOP.' AND HE DID THAT ALL IN OIL AND IT WAS LIKE ANY PRINTER THAT YOU SEE TODAY AND ABOUT THE SPEED OF SLOW WRITING. I WAS ASTONISHED.” “SO I USED TO GO IN ONCE IN A WHILE AND VISIT HIM IN THE SHOP AT THAT TIME AND I REMEMBER ONE TIME I – HE ACTUALLY ENCOURAGED ME TO START PAINTING. I STARTED DOING THAT AND HE GAVE ME SOME HINTS, LITTLE THINGS LIKE PERSPECTIVE, VANISHING POINTS, WHAT WERE THE OTHER THINGS, OH, HOW THICK PAINT DOESN’T STICK TO THIN PAINT AND VICE VERSA, AND WHEN YOU USE OIL PAINTS YOU PAINT FROM THE BACK TO THE FRONT. WHEN YOU USE WATERCOLORS, YOU PAINT LIGHT TO DARK, USUALLY – THAT KIND OF THING. HE HELPED ME WITH THAT KIND OF STUFF. HE WAS SHOWING ME.” REMEMBERING HIS UNCLE, LYLE STATES, ”MY UNCLE WAS A VERY NICE MAN. I NEVER SAW HIM EVER ANGRY, EVER. I NEVER HEARD ANYONE EVER SAY THAT HE WAS ANGRY. ONLY ONCE. ONLY ONE TIME THAT I EVEN HEARD THAT HE WAS ANGRY. ONE TIME HE HAD A PAINTING AND MY AUNT DIDN’T LIKE IT SO SHE TOOK OUT SOME PAINTS AND FIXED IT FOR HIM. AND THAT WAS THE ONLY TIME THAT HE WAS ANGRY, THAT I HAVE EVER KNOWN. I THINK HE FORGAVE HER BUT I DON’T THINK SHE TOUCHED HIS PAINTINGS AFTER THAT. SO BASICALLY MY AUNT AND MY UNCLE WERE NICE AND IT WAS A PLEASURE TO GO OVER AND VISIT HIM. HE WAS SO NICE. AND I’M NOT SAYING THAT BECAUSE HE’S MY UNCLE OR ANYTHING- HE JUST WAS A NICE MAN.” WHEN ASKED ABOUT WHAT HE KNEW AT THE TIME OF HIS UNCLE'S ART CAREER, LYLE ADDS, “I DIDN’T REALLY KNOW [ABOUT IT]. I HAD NO CLUE WHAT HE DID. I DIDN’T KNOW HE WAS A FRIEND OF A.Y. JACKSON AND ALL OF THAT…I GUESS HE SOLD THE PAINTINGS BUT I SAW IT MORE OF A HOBBY BECAUSE HE WOULD PAINT A PAINTING AND THEN RE-PAINT IT, LIKE, IF HE DIDN’T LIKE IT HE WOULD JUST PAINT OVER IT. AND BECAUSE HE WAS A SIGN PAINTER. HE WAS ACTUALLY AN ELECTRICIAN BY TRADE. HE WENT TO SAIT AND BECAME AN ELECTRICIAN BUT COULDN’T GET ANY WORK AND STARTED A SIGN BUSINESS AND [IT], TO ME AS A KID, IT WAS JUST A JOB, LIKE DAD’S JOB THAT KIND OF THING, SO YOU HAVE A JOB [AND] YOU GO TO WORK [AND] SO I DIDN’T THINK IT WAS ANYTHING SPECIAL…I DIDN’T UNDERSTAND, AS A KID,... I WENT OFF DOING MY OWN THING. YEAH…HE WAS CLOSE TO FINISHING [HIS CAREER], BY THE TIME I WAS AN ADULT, HE WAS JUST NEAR DONE.” 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." THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” FOR COPIES OF LETHBRIDGE HERALD ARTICLES ON PISKO AND HIS CAREER, AS WELL AS PROMOTIONAL MATERIALS FOR THE 1995 ARTWALK DEDICATED TO HIM, SEE PERMANENT FILE P19920009001-GA. FOR MORE INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20200016001-GA.
Catalogue Number
P20200016006
Acquisition Date
2020-06
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19940049002
  1 image  
Material Type
Artifact
Date Range From
1960
Date Range To
1970
Materials
PAPER
No. Pieces
1
Length
57.4
Width
55.5
Description
CHILD'S DRAWING ON WHITE CONSTRUCTION PAPER. PENCIL-DRAWN TEEPEE ON GREEN GRASS, WITH THREE GREEN AND BROWN TREES. INDIGENOUS CHIEF IN UPPER LEFT CORNER WITH BOW. ONE ARROW IS IN FLIGHT OVER A TREE, AND A SECOND HAS HIT A FIGURE AT THE FAR RIGHT SIDE. GROUP OF BROWN ANIMAL FIGURES ARE ARRANGED IN A CIRCLE AT TOP, WITH "JEFF" IN GREEN PRINT IN TOP RIGHT CORNER. EDGES OF PAPER ARE WORN, WITH SMALL TEAR ABOVE NAME. CRUSHED IN SEVERAL PLACES FROM ROLLED STORAGE.
Subjects
ART
Historical Association
EDUCATION
FINE ARTS
History
DRAWN BY STUDENT IN AUNT DOROTHY'S PLAYHOUSE, FROM GOODSTRIKER'S STORIES ON ONE OF HIS EARLY VISITS. DOROTHY GENTLEMAN, DONOR'S MOTHER, WAS BORN IN ABERDEEN, SCOTLAND IN 1905. HER FATHER WAS A SCOTTISH LAIRD (PARENTS: LAIRD PETER & JESSIE JAMIESON), WHO OWNED A GIRL'S SCHOOL. THE SCHOOL WAS USED AFTER WWI AS A HOSPITAL/RETREAT FOR INJURED BRITISH SOLDIERS TO GO TO RECUPERATE. THERE, DOROTHY WAS KNOWN AS 'LITTLE RED RIDING HOOD' BECAUSE SHE ALWAYS WORE A RED CAPE WHEN SHE WAS CALLED DOWN TO READ STORIES TO SOLDIERS AS THEY WERE DYING. IT WAS DOROTHY'S JOB TO HOLD THEIR HANDS UNTIL THEY DIED, AND TO WRITE TO SOLDIERS' FAMILIES (LETTERS DICTATED BY HER FATHER) ABOUT THEIR CONDITION. WHILE IN SCOTLAND, DOROTHY STUDIED JOURNALISM, PIANO, AND ORGAN. SHE CAME TO CANADA IN 1922 WITH HER PARENTS, TO RESIDE ON RODONO FARM NEAR ALIX, ALBERTA. SHE WAS MARRIED THERE IN 1928, TO WILLIAM DONALD "BILL" GENTLEMAN. SHE RESIDED MAINLY IN EDMONTON AND CALGARY, BEFORE HER 1944 MOVE TO LETHBRIDGE. AFTER HER HUSBAND PASSED AWAY WITHOUT INSURANCE, LEAVING DOROTHY AND HER FOUR CHILDREN WITHOUT FUNDS, DOROTHY FOUNDED AUNT DOROTHY'S PLAYHOUSE IN 1948. IT WAS ONE OF THE FIRST PRIVATE KINDERGARTENS IN THE CITY, MODELED AFTER THOSE IN THE 'OLD COUNTRY' (SCOTLAND). CHILDREN WORE UNIFORMS, AND HAD JACKETS WITH A SCHOOL CREST. DOROTHY TAUGHT FRENCH (INCLUDING FRENCH SONGS), GAVE TRAIN TRIPS, TAUGHT MUSIC (INCLUDING PIANO), SINGING AND DANCING, FINGER PAINTING, AND TOOK TRIPS AROUND THE TOWN. THE KINDERGARTEN WAS IN HER HOME AT 635-8TH STREET SOUTH. IT WAS INTERNATIONALLY REPUTED, AND REPRESENTED CANADA AT THE UNITED NATIONS (UNESCO) 10TH ANNIVERSARY AND THE FIRST PACIFIC AREA CONFERENCES OF THE WORLD ORGANIZATION ON EARLY CHILDHOOD EDUCATION. DOROTHY WAS CALLED IN AS AN OBSERVER-CONSULTANT OF THE U.S.A. HEADSTART MOVEMENT IN ITS FORMATIVE YEARS, WORKING MOSTLY IN NEW YORK AND NEW JERSEY. SHE WAS HONORED AS CANADA'S MOTHER OF THE YEAR IN 1961, AND WAS NOTED FOR MANY THINGS INCLUDING THE FACT THAT SHE LEARNED TO SPEAK MANDARIN AND LEARNED CHINESE CULTURE. AUNT DOROTHY'S PLAYHOUSE CLOSED IN 1973, AFTER DOROTHY RETIRED. DOROTHY GENTLEMAN PASSED AWAY IN OCTOBER 1980.
Catalogue Number
P19940049002
Acquisition Date
1994-12
Collection
Museum
Images
Less detail
Other Name
ART PICTURES
Date Range From
1926
Date Range To
1940
Material Type
Artifact
Materials
PAPER
Catalogue Number
P20010057011
Material Type
Artifact
Other Name
ART PICTURES
Date Range From
1926
Date Range To
1940
Materials
PAPER
No. Pieces
10
Height
0.5
Length
24.0
Width
16.5
Description
NINE IMAGES ARE CONTAINED INSIDE A LIGHT GREEN PAPER CONTAINER. ON THE OUTSIDE OF THE CONTAINER, ARE THE WORDS "ART PICTURES FOR THE GRADES" THEN, "GRADE 8", PRICE "25" AND "STATIONARY..SCHOOL SUPPLIES OFFICE EQUIPMENT.. JOB PRINTING", THEN AT THE BOTTOM "COMMERCIAL PRINTERS & OFFICE OUTFITTERS LIMITED LETHBRIDGE ALTA". THE NINE IMAGES ARE: 1- "MADONNA OF THE CHAIR" PICTURE OF A WOMAN HOLDING A CHILD. 2- "THE HORSE FAIR", WITH AN IMAGE OF A HERD OF HORSES AND RIDERS. 3- "DANCE OF THE NYMPHS", SHOWS HUMAN FIGURES DANCING IN A FOREST. 4-"PILGRIMS GOING TO CHURCH", THE IMAGE IS OF A GROUP OF SETTLERS WALKING DOWN A SNOWY PATH, SOME HAVE GUNS. 5-"AVENUE OF TREES, MIDDELHARNIS" AN IMAGE OF TWO SINGLE ROWS OF TREES FLANKING A ROAD. 6-"SIR CALAHAD", A PICTURE OF A MAN IN ARMOR STANDING IN FRONT OF A WHITE HORSE. 7-"BY THE RIVER", SHOWS TWO WOMEN, ONE WITH A BABY WALKING. 8- "AURORA", A SPIRITUAL IMAGE WITH PEOPLE WALKING IN CLOUDS WITH ANGELS? FLYING NEARBY. 9-"JOAN OF ARC", AN IMAGE OF A WOMAN WALKING IN A GARDEN. A GHOSTLY FIGURE IS SEEN BEHIND HER. *NOTE* NOT FOUND DURING 2015 INVENTORY.
Subjects
ART
Historical Association
EDUCATION
History
ALL OF THESE ARTIFACTS WOULD HAVE BEEN OWNED BY EITHER HAZEL RUTH MCNABB AND HER MOTHER MRS. JOSEPH MCNABB (MAE). HOWEVER, MOST WOULD HAVE BELONGED TO HAZEL. MOST PURCHASES WOULD HAVE BEEN MADE IN OR NEAR LETHBRIDGE OR FORT MACLEOD. THE DONOR WAS BORN IN 1912 IN FORD MACLEOD AND MOVED TO LETHBRIDGE IN 1946. FAMILY LIVED ALONG THE OLD MAN RIVER ACROSS FROM THE RESERVATION, MOTHER WAS FROM NEW YORK, AND AFTER MARRYING HER HUSBAND CAME TO ALBERTA TO RANCH. FOR MORE INFORMATION ON THE DONOR, THE LATE MS. HAZEL MCNABB, PLEASE SEE THIS DONATION'S PERMANENT FILE. INCLUDED IN THE FILE, IS A 50 MIN INTERVIEW WITH MCNABB'S CLOSE FRIEND MARY OORDT FROM 20 MAY 2014.
Catalogue Number
P20010057011
Acquisition Date
2002-03
Collection
Museum
Less detail
Other Name
RUFUS GOODSTRIKER ILLUSTRATES
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19940049001
Material Type
Artifact
Other Name
RUFUS GOODSTRIKER ILLUSTRATES
Date Range From
1960
Date Range To
1970
Materials
PAPER
No. Pieces
1
Length
302
Width
80
Description
BROWN CARDBOARD PAPER SCROLL WITH CRAYON DRAWING. PICTURED FROM LEFT TO RIGHT ARE A PERCHED EAGLE, A SMALLER BIRD, A DEER, A STRETCHED HIDE, THREE HORSE'S HEADS, TWO HORSES, AND A MOUNTED NATIVE HUNTING A BUFFALO WITH BOW AND ARROW. SKETCHES ARE DONE IN BLACK AND BROWN. LEFT HAND SIDE OF SCROLL HAS STAINS FROM BEING SPLASHED, AND TOP RIGHT CORNER HAS SMALL RECTANGLE CUT OUT. CREASED IN PLACES FROM BEING CRUSHED WHEN ROLLED.
Subjects
INDIGENOUS
ART
Historical Association
EDUCATION
FINE ARTS
History
SCROLL WAS USED DURING STORYTELLING BY RUFUS GOODSTRIKER, IN AUNT DOROTHY'S PLAYHOUSE. DOROTHY GENTLEMAN, DONOR'S MOTHER, WAS BORN IN ABERDEEN, SCOTLAND IN 1905. HER FATHER WAS A SCOTTISH LAIRD (PARENTS: LAIRD PETER & JESSIE JAMIESON), WHO OWNED A GIRL'S SCHOOL. THE SCHOOL WAS USED AFTER WWI AS A HOSPITAL/RETREAT FOR INJURED BRITISH SOLDIERS TO GO TO RECUPERATE. THERE, DOROTHY WAS KNOWN AS 'LITTLE RED RIDING HOOD' BECAUSE SHE ALWAYS WORE A RED CAPE WHEN SHE WAS CALLED DOWN TO READ STORIES TO SOLDIERS AS THEY WERE DYING. IT WAS DOROTHY'S JOB TO HOLD THEIR HANDS UNTIL THEY DIED, AND TO WRITE TO SOLDIERS' FAMILIES (LETTERS DICTATED BY HER FATHER) ABOUT THEIR CONDITION. WHILE IN SCOTLAND, DOROTHY STUDIED JOURNALISM, PIANO, AND ORGAN. SHE CAME TO CANADA IN 1922 WITH HER PARENTS, TO RESIDE ON RODONO FARM NEAR ALIX, ALBERTA. SHE WAS MARRIED THERE IN 1928, TO WILLIAM DONALD "BILL" GENTLEMAN. SHE RESIDED MAINLY IN EDMONTON AND CALGARY, BEFORE HER 1944 MOVE TO LETHBRIDGE. AFTER HER HUSBAND PASSED AWAY WITHOUT INSURANCE, LEAVING DOROTHY AND HER FOUR CHILDREN WITHOUT FUNDS, DOROTHY FOUNDED AUNT DOROTHY'S PLAYHOUSE IN 1948. IT WAS ONE OF THE FIRST PRIVATE KINDERGARTENS IN THE CITY, MODELED AFTER THOSE IN THE 'OLD COUNTRY' (SCOTLAND). CHILDREN WORE UNIFORMS, AND HAD JACKETS WITH A SCHOOL CREST. DOROTHY TAUGHT FRENCH (INCLUDING FRENCH SONGS), GAVE TRAIN TRIPS, TAUGHT MUSIC (INCLUDING PIANO), SINGING AND DANCING, FINGER PAINTING, AND TOOK TRIPS AROUND THE TOWN. THE KINDERGARTEN WAS IN HER HOME AT 635-8TH STREET SOUTH. IT WAS INTERNATIONALLY REPUTED, AND REPRESENTED CANADA AT THE UNITED NATIONS (UNESCO) 10TH ANNIVERSARY AND THE FIRST PACIFIC AREA CONFERENCES OF THE WORLD ORGANIZATION ON EARLY CHILDHOOD EDUCATION. DOROTHY WAS CALLED IN AS AN OBSERVER-CONSULTANT OF THE U.S.A. HEADSTART MOVEMENT IN ITS FORMATIVE YEARS, WORKING MOSTLY IN NEW YORK AND NEW JERSEY. SHE WAS HONORED AS CANADA'S MOTHER OF THE YEAR IN 1961, AND WAS NOTED FOR MANY THINGS INCLUDING THE FACT THAT SHE LEARNED TO SPEAK MANDARIN AND LEARNED CHINESE CULTURE. AUNT DOROTHY'S PLAYHOUSE CLOSED IN 1973, AFTER DOROTHY RETIRED. DOROTHY GENTLEMAN PASSED AWAY IN OCTOBER 1980. THE FOLLOWING INFORMATION ABOUT THE ARTIST, RUFUS GOODSTRIKER, WAS EXCERPTED FROM AN ARTICLE PUBLISHED ON THE COWBOY COUNTRY MAGAZINE WEBSITE. GOODSTRIKER (PII NA KIUM, "SEEN FROM AFAR") WAS BORN IN 1924 AND GREW UP ON THE BLOOD RESERVE, ATTENDING ST. PAUL'S RESIDENTIAL SCHOOL. GOODSTRIKER WAS A BOXER AND COWBOY, COMPETING IN A VARIETY OF EVENTS AND RODEO COMPETITIONS INCLUDING THE CALGARY STAMPEDE. HE ALSO BRED AND TRAINED RACE HORSES, AND SERVED IN THE CANADIAN MILITARY DURING WORLD WAR II. GOODSTRIKER WAS THE FOUNDER AND DIRECTOR OF THE CROSS BELL YOUTH CAMP, AND LATER IN HIS LIFE BECAME AN HERBALIST AND RESPECTED KAINAI SPIRITUAL HEALER. HE BECAME THE FIRST ELECTED CHIEF OF THE KAINAI NATION IN 1964, AND WAS FATHER TO 10 CHILDREN. RUFUS GOODSTRIKER DIED ON JUNE 30, 2003, AND IS BURIED ON THE BLOOD RESERVE. SEE PERMANENT FILE FOR HARDCOPY OF SOURCE ARTICLE.
Catalogue Number
P19940049001
Acquisition Date
1994-12
Collection
Museum
Less detail
Other Name
"THE MASTERPIECES OF REYNOLDS"
Material Type
Artifact
Materials
PAPER
Catalogue Number
P20090016028
  1 image  
Material Type
Artifact
Other Name
"THE MASTERPIECES OF REYNOLDS"
Date
1906
Materials
PAPER
No. Pieces
1
Height
1.1
Length
14.6
Width
9.8
Description
BOOK, BLANK, SOFT COVER. FRONT COVER HAS RED STAIN ON PROPER LEFT SIDE AND PENCIL MARKS IN PROPER RIGHT TOP CORNER. PAPER IS SOILED AND YELLOWING THROUGHOUT. EDGES OF FRONT AND BACK COVER ARE WORN AND TORN. FRONT COVER TEARING OFF OF BOOK. THIRD PAGE IN MARKED, “GOWAN’S ART BOOKS, NO. 5, THE MASTERPIECES OF REYNOLDS”. PAGES GO UP TO 68.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
EDUCATION
FINE ARTS
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016028
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
"THE WORLD MASTERS, RUBENS"
Material Type
Artifact
Materials
PAPER
Catalogue Number
P20090016029
  1 image  
Material Type
Artifact
Other Name
"THE WORLD MASTERS, RUBENS"
Date
1928
Materials
PAPER
No. Pieces
3
Height
0.6
Length
14.7
Width
11.2
Description
RUBENS SOFTCOVER BOOK WITH DETACHED FRONT AND BACK COVER - 3 PIECES. 1. FRONT COVER, HEAVY PAPER. EDGES CREASED AND TORN. COVER YELLOWED THROUGHOUT. MARKED, “THE WORLD’S MASTERS, RUBENS…LEICESTER SQUARE, W.C. 2”. BLACK AND WHITE IMAGE OF “RAPE OF THE DAUGHTERS OF LEUCIPPUS” IN CENTER. 14.7 CM LONG BY 11.2 CM WIDE. 2. BOOK, NO COVER, PAPER. MARKED, “THE WORLD’S MASTERS, PETER PAUL RUBENS…” PENCIL MARK IN TOP PROPER LEFT CORNER READS “OR/35”. BINDING IS COMING APART AT BOTTOM. YELLOWED THROUGHOUT. 0.6 CM HIGH BY 14.1 CM LONG BY 11.1 CM WIDE. 3. BACK COVER, HEAVY PAPER. SPINE OF COVER MARKED, “RUBENS”. YELLOWING THROUGHOUT, ESPECIALLY AT EDGES. EDGES WORN. INTERMITTENT TEARS AT EDGES. 0.6 CM HIGH BY 14.7 CM LONG BY 11.9 CM WIDE.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
FINE ARTS
EDUCATION
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016029
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
"THE WORLD'S MASTERS, GAINSBOROUGH"
Material Type
Artifact
Catalogue Number
P20090016030
  1 image  
Material Type
Artifact
Other Name
"THE WORLD'S MASTERS, GAINSBOROUGH"
Date
1928
No. Pieces
2
Height
0.7
Length
14.7
Width
11.3
Description
GAINSBOROUGH SOFT COVER BOOK WITH DETACHED COVER – 2 PIECES. 1. COVER, HEAVY PAPER. FRONT MARKED, “THE WORLD’S MASTERS, GAINSBOROUGH… LEICESTER SQUARE…” BLACK AND WHITE IMAGE OF “HARVEST WAGON” IN CENTER. COVER YELLOWED AND SOILED THROUGHOUT. EDGES WORN. INTERMITTENT TEARS AND CREASES. LARGE CREASE RUNS FROM TOP TO BOTTOM OF BACK COVER. 0.7 CM HIGH BY 14.7 CM LONG BY 11.3 CM WIDE. 2. BOOK, NO COVER, PAPER. MARKED, “THE WORLD’S MASTERS, THOMAS GAINSBOROUGH…” PENCIL MARK IN TOP PROPER LEFT CORNER READS “OR/35”. YELLOWED THROUGHOUT. 0.6 CM HIGH BY 14.6 CM LONG BY 11.1 CM WIDE.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
FINE ARTS
EDUCATION
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016030
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Author
Johnson, L.P.V.
Publisher
Institute of Applied Art
Material Type
Book
Material Type
Book
Author
Johnson, L.P.V.
Place
Edmonton, Alberta
Publisher
Institute of Applied Art
Publication Date
1970
Physical Description
252 pages, illustrated
Subjects
Aberhart, William 1878-1942
Abstract
Biography of William Aberhart
Call Number
FC 3674.1 A3 J6
Collection
Library
Less detail
Other Name
CHAUTAUQUA INDUSTRIAL ART DESK
Material Type
Artifact
Materials
PAPER, WOOD, BRASS, COPPER, STEEL
Catalogue Number
P19705565000
Material Type
Artifact
Other Name
CHAUTAUQUA INDUSTRIAL ART DESK
Date
1913
Materials
PAPER, WOOD, BRASS, COPPER, STEEL
No. Pieces
1
Height
4.4
Length
51.9
Width
47.3
Description
2 ROLLERS TURN UP AND DOWN, SHOWING ILLUSTRATIONS, CHARTS, BLUEPRINTS, FORMS. "THE CHAUTAUQUA INDUSTRIAL ART DESK A PLAN TO PROMOTE THE CULTURE OF WORK AND PLAY AMONG CHILDREN IN THE HOME. LEWIS E. MEYERS & COMPANY PRODUCERS AND EXCLUSIVE DISTRIBUTORS VALPARISO, INDIANA, U.S.A." AND "COPYRIGHT 1913 POWERS, MYERS & CO." ON FIRST SHEET. MAP OF U.S.A. ON BACK. APPEARS TO HAVE ORIGINALLY HAD BLACKBOARD ON FRONT. OAK STRIPS WARPED. MAP PEELING OFF FACE OF DESK.
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
EDUCATION
LEISURE
History
*UPDATE* IN 2019 COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED AN ARTIFACT AUDIT, WHICH INCLUDED THIS DESK DONATED BY LORNE ROONEY. ARCHIVAL RESEARCH CONDUCTED TO DETERMINE FURTHER INFORMATION WAS UNSUCCESSFUL.
Catalogue Number
P19705565000
Acquisition Date
1970-04
Collection
Museum
Less detail
Other Name
U OF L BUTTON
Material Type
Artifact
Materials
METAL, PLASTIC
Catalogue Number
P20050005007
  1 image  
Material Type
Artifact
Other Name
U OF L BUTTON
Date
1972
Materials
METAL, PLASTIC
No. Pieces
1
Diameter
5.5
Description
ROUND BUTTON. CENTER CIRCLE BL FEATURING GLD AND BLK SQUARE DESIGN. OUTSIDE BORDER WHT WITH BL TEXT "THE UNIVERSITY OF LETHBRIDGE", "OFFICIAL OPENING 1972".
Subjects
PERSONAL SYMBOL
DOCUMENTARY ARTIFACT
Historical Association
EDUCATION
COMMEMORATIVE
History
DONOR FOUND BUTTON AMONGST HER MOTHER'S EFFECTS. DONOR DID NOT RECALL HER MOTHER HAVING AN ACTIVE AFFILIATION WITH THE UNIVERSITY. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED BY MARJORIE WELCH'S MOTHER, NORA EVERSON. FOR FURTHER INFORMATION ABOUT THE SHERLOCK/MACLEOD FAMILY, SEE RECORDS P19960108000 AND P19740093000.
Catalogue Number
P20050005007
Acquisition Date
2005-08
Collection
Museum
Images
Less detail
Other Name
PAIR
Date Range From
1875
Date Range To
1900
Material Type
Artifact
Materials
STEEL
Catalogue Number
P19651474000
Material Type
Artifact
Other Name
PAIR
Date Range From
1875
Date Range To
1900
Materials
STEEL
No. Pieces
2
Length
14.0
Width
6.0
Description
HAND FORGED SET FOR 1 HOOF.
Subjects
ANIMAL HUSBANDRY T&E
Historical Association
AGRICULTURE
History
MADE BY A LOCAL BLACKSMITH, DONOR, MRS. HAGELL UNSURE OF WHO OR DATE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THE VARIOUS DONATIONS PERTAINING TO EDWARD FREDERICK HAGELL. SEE RECORD P19960053001 FOR AN EXTENDED BIOGRAPHY OF THE ARTIST; SEE PERMANENT FILES P19960053001, P20040009001, P20060027001, P20070008001, AND P20070012001 FOR NEWSPAPER CLIPPINGS, DETAILS ON PAST GALT DIRECTOR/CURATOR WILMA WOOD'S BOOK ON THE ARTIST, AND CORRESPONDENCE WITH THE HAGELL FAMILY.
Catalogue Number
P19651474000
Acquisition Date
1965-01
Collection
Museum
Less detail
Other Name
SCHOOL OF NURSING SIGN
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19960116158
Material Type
Artifact
Other Name
SCHOOL OF NURSING SIGN
Date Range From
1950
Date Range To
1960
Materials
WOOD
No. Pieces
1
Height
0.4
Diameter
127.5
Description
CIRCULAR WOOD SIGN IS MADE OF PRESSED PARTICLE BOARD. BACK IS PLAIN AND FRONT HAS BLUE, WHITE, RED AND GOLD PAINTED LOGO. 17.3CM BLUE BORDER IS AROUND CIRCUMFRENCE WITH GOLD EDGING. ALSO HAS GOLD LETTERING WHICH READS "SCIENCE - SERVICE - SANCTITY" AND "ST. MICHAEL'S SCHOOL OF NURSING". CENTER IS WHITE CIRCLE WITH BLUE CROSS. GOLD BORDERED SHIELD IS IMPOSED OVER BLUE CROSS. SHIELD HAS WHITE BODY AND BLUE HONOR PANEL AT TOP. BODY HAS ST. ANDREW CROSS WITH RED SHIELD IMPOSED OVER IT. SHIELD HAS GOLD SWORD WITH HANDLE IN JERUSALEM CROSS STYLE. HONOR PANEL HAS GOLD COLORED LAMP. SIGN HAS NUMEROUS SMALL SCRATCHES AND CHIPS. AT BOTTOM OF SIGN IN GREY IS "ART SIGN CO."
Subjects
VISUAL COMMUNICATION T&E
Historical Association
HEALTH SERVICES
EDUCATION
History
SIGN WAS REMOVED FROM ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. FOR MORE HISTORY ON HOSPITAL SEE P19960116001-GA.
Catalogue Number
P19960116158
Acquisition Date
1996-01
Collection
Museum
Less detail
Other Name
POLICE DOG LEASH
Date Range From
1960
Date Range To
1985
Material Type
Artifact
Materials
LEATHER
Catalogue Number
P19960112037
  1 image  
Material Type
Artifact
Other Name
POLICE DOG LEASH
Date Range From
1960
Date Range To
1985
Materials
LEATHER
No. Pieces
1
Length
37.7
Width
3.6
Description
WORN BROWN BRAIDED LEATHER SHORT DOG LEASH WITH A STEEL CLIP ATTACHED TO END. WHEN CLIP IS PINCHED TOGETHER END OPENS WIDE. LEATHER IS VERY WORN IN VARIOUS SPOTS.
Subjects
ANIMAL HUSBANDRY T&E
Historical Association
SAFETY SERVICES
History
POLICE DOG LEASH. *UPDATE* ON 13 FEBRUARY 2015, RETIRED LETHBRIDGE POLICE CANINE UNIT MEMBER DAVE HASTIE INFORMED COLLECTIONS STAFF OF THE FOLLOWING, “[THIS] IS A SHORT LEASH THAT WAS GIVEN TO ME BY SGT [JOE] SHANK. IT WAS THE LEASH HE USED WITH [PSD] YORK WHEN HE HAD HIM. I KNOW HE DID GIVE ME ONE (IN 1978) AND I USED IT ON SOME OCCASIONS WITH MY DOG PSD QMAX.” FOR MORE INFORMATION ON HASTIE’S CAREER WITH THE CANINE UNIT, INCLUDING AN INTERVIEW WITH HASTIE IN 2015, PLEASE SEE THE CATALOGUE RECORD P20140035000 AS WELL AS THAT ARTIFACT’S PERMANENT FILE. FOR AN OVERVIEW OF THE LETHBRIDGE POLICE’S EARLY CANINE (K-9) PROGRAM, SEE ALSO P19960112107. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112037
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
POLICE DOG LEASH
Date Range From
1975
Date Range To
1985
Material Type
Artifact
Materials
LEATHER, STEEL
Catalogue Number
P19960112028
  1 image  
Material Type
Artifact
Other Name
POLICE DOG LEASH
Date Range From
1975
Date Range To
1985
Materials
LEATHER, STEEL
No. Pieces
1
Length
198
Width
2.5
Description
WORN BLACK LEATHER DOG LEASH STAMPED NEAR THE HANDLE "MAX". END HAS A HEAVY STEEL CLIP THAT RELEASES WHEN BASE IS PULLED BACK AWAY FROM THE CLIP. ON EACH END LEATHER IS OVERLAPPED AND STITCHED WITH HEAVY WHITE THREAD. LEATHER IS DRY, STIFF & CRACKING.
Subjects
ANIMAL HUSBANDRY T&E
Historical Association
SAFETY SERVICES
History
POLICE DOG LEASH. *UPDATE* ON 13 FEBRUARY 2015, RETIRED LETHBRIDGE POLICE CANINE UNIT MEMBER DAVE HASTIE INFORMED COLLECTIONS STAFF OF THE FOLLOWING, “I BELIEVE [THIS] WAS A LEASH I USED WITH MY DOG QMAX. I REMEMBER GIVING IT TO CST KREEFT WHEN HE WAS [TO] BRING SOME ITEMS OVER TO THE MUSEUM. THE LEASH, IF I REMEMBER, HAS A QUICK RELEASE ON IT. I HAD IT DESIGNED SO IF THE DOG IS STRAINING TO RUN YOU CAN PULL BACK AND IT WILL RELEASE IN ONE MOTION. IT WAS MADE IN GREAT FALLS ESPECIALLY FOR QMAX.” FOR MORE INFORMATION ON HASTIE’S CAREER WITH THE CANINE UNIT, INCLUDING AN INTERVIEW WITH HASTIE IN 2015, PLEASE SEE THE CATALOGUE RECORD P20140035000 AS WELL AS THAT ARTIFACT’S PERMANENT FILE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112028
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Date Range From
1995
Date Range To
2000
Material Type
Artifact
Materials
COTTON, LEATHER, WOOD
Catalogue Number
P20190005003
  2 images  
Material Type
Artifact
Date Range From
1995
Date Range To
2000
Materials
COTTON, LEATHER, WOOD
No. Pieces
1
Length
94
Width
24.5
Description
STUFFED COTTON PUPPET WITH LIGHT BROWN HANDS AND FACE; PUPPET HAS CURLY WHITE HAIR WITH TWO WHITE AND BLACK ADHESIVE-BACK EYES AND RED CUT-OUT MOUTH. PUPPET IS DRESSED IN BLUE AND WHITE SUIT JACKET WITH TWO BRASS BUTTONS ON FRONT, A WHITE SHIRT WITH ONE WHITE PLASTIC BUTTON, A BLACK BOWTIE, BLACK VELVET PANTS, AND BLACK LACE-UP LEATHER SHOES WITH RUBBER SOLES. CLOTHING IS SEWN ONTO PUPPET; SHOES HAVE TEXT INSCRIBED ON BOTTOM, “WILLITS”. LEFT HAND OF PUPPET HOLDS A WOODEN CONDUCTOR’S BATION WITH BLACK RUBBER END TIP, AND HAS ATTACHED TO HAND A BRASS ROD WITH WOODEN HANDLE. PUPPET HAS MINOR FRAYING OF THREADS; SHOES ARE SCUFFED; OVERALL VERY GOOD CONDITION.
Subjects
PUBLIC ENTERTAINMENT DEVICE
TOY
Historical Association
EDUCATION
History
ON FEBRUARY 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BARB CAVERS REGARDING HER DONATION OF ITEMS FROM HER HOME AND TEACHING CAREER. ON THE PUPPET, CAVERS RECALLED, “[I MADE THE PUPPET] PROBABLY ABOUT [1995] TO 2000…AT SENATOR BUCHANAN SCHOOL, AND I TAUGHT MUSIC TO GRADE TWO, THREE, AND FIVE, AND SIX, DEPENDING ON WHO WAS TEACHING THOSE GRADES, BUT I USED HIM PRIMARILY FOR GRADES TWO AND THREE…HE WAS JUST CALLED THE MAESTRO.” “ONCE I GOT INTO ADMINISTRATION IN THE SCHOOLS, RATHER THAN BEING A CLASSROOM TEACHER, I MOSTLY TAUGHT MUSIC AND ART, BECAUSE THOSE WERE SUBJECTS THAT HAD THE RIGHT NUMBER OF PERIODS. TEACHERS GOT THREE 30-MINUTE PERIODS A WEEK OF PREP TIME, SO I COULD GIVE A TEACHER THAT, WITH TEACHING MUSIC, WHICH I LOVED TO DO. IT WAS FUN. I’D BEEN TEACHING GRADE TWO AND THREE MUSIC FOR PROBABLY FOUR OR FIVE YEARS, AND, IN THE TEACHER GUIDE, THEY HAD DIRECTIONS ON HOW TO MAKE THIS…BEING A PERSON WHO LIKES TO MAKE THINGS, I THOUGHT, ‘WELL, THAT WOULD BE FUN.’ EARLIER, WHEN I WAS ACTING PRINCIPAL AT ALAN WATSON SCHOOL, [I] HAD BEEN TEACHING A GRADE SIX CLASS ART, AND WE HAD MADE SOFT SCULPTURES…AGAIN I SAID, ‘HOW HARD COULD IT BE?’ QUITE CHALLENGING ACTUALLY, BECAUSE LOTS OF THE KIDS HAD NEVER SEWED, BUT WE MADE THE WHOLE BODY PUPPET, AND THE KIDS BROUGHT THE CLOTHES AND DRESSED THEM. WE MADE THE FACES, TOO, OUT OF THE NYLON STOCKINGS, AND THE EYES, AND THEY ADDED HAIR, AND IT WAS REALLY FUN. WHEN I SAW THIS, I THOUGHT, ‘WELL, I CAN DO THAT, BECAUSE I’VE DONE THE SOFT SCULPTURE BEFORE.’ I HADN’T DONE THE KIND OF MUPPET HEAD BEFORE. HE’S KIND OF CRAZY LOOKING, BUT THE IDEA WAS THAT YOU COULD USE THIS GUY, BECAUSE HE HAS A BATON ATTACHED TO ONE HAND; THAT YOU COULD USE HIM TO GET KIDS TO BE ABLE TO BEAT OUT THE TIME; KIND OF ‘ONE-TWO-THREE’. A BIT MORE FUN TO WATCH A PUPPET THAN IT IS TO WATCH A TEACHER…[THE STUDENTS] WOULD BE ABLE TO HOLD HIM SOMETIMES, AND YOU CAN MANIPULATE HIS MOUTH BY GOING IN HIS BACK…I WANTED TO MAKE HIM, AND PARTLY BECAUSE I WANTED TO USE HIM, AND I DID USE HIM FOR ABOUT THE NEXT FIVE YEARS, IN THE CLASSROOM.” “[WE DIDN’T USE THE PUPPET] THAT MUCH. PROBABLY WITH EACH CLASS, MAYBE FIVE OR SIX TIMES, DURING THE YEAR, JUST USUALLY TO MAKE A POINT…THEN I’D MOVE ON, AND DO SOMETHING ELSE. PROBABLY THE KIDS WOULD HAVE LIKED TO SEE HIM MORE OFTEN, BUT I HAVE A SHORT ATTENTION SPAN SOMETIMES, SO I WANTED TO MOVE ON TO SOMETHING NEW.” CAVERS ELABORATED ON HER TIME TEACHING MUSIC, NOTING, “I THINK [TEACHING MUSIC IS] REALLY IMPORTANT. IT GETS A DIFFERENT PART OF YOUR BRAIN WORKING, THAN PENCIL, PAPER, SPEAKING, READING DOES. IT GIVES KIDS AN OPPORTUNITY TO MOVE, BECAUSE WE DID, PARTICULARLY WITH THE YOUNGER KIDS, WE DID LOTS OF MOVEMENT, AND ACTION SONGS…IT GAVE THEM AN OPPORTUNITY TO STRETCH, AND GET SOME OF THE ‘WIGGLES’ OUT…I THINK THE MIND AND THE SPIRIT ARE IMPORTANT. THE SPIRIT IS IMPORTANT IN MUSIC JUST TO THE JOY OF SINGING; THE JOY OF SINGING TOGETHER; MAKING MUSIC WITH INSTRUMENTS; OF PERFORMING. I ALWAYS LIKED TO HAVE CERTAIN TIMES OF THE YEAR…I REALLY LIKED CHRISTMAS CONCERTS. IT WAS REALLY A LOT OF WORK, BUT I REALLY LIKED IT, BECAUSE THE KIDS HAD A SENSE OF PERFECTING SOMETHING. WE DID LOTS OF CLASSROOM MUSIC FOR FRIDAY ASSEMBLIES…THE KIDS WOULD JUST GET UP AND SING A CLASSROOM SONG, OR SAY A POEM…WE DID LITTLE OPERETTAS…THOSE GAVE KIDS A REAL PRIDE IN WHAT THEY WERE ACCOMPLISHING—THAT THEY WORKED REALLY, REALLY HARD, AND HAD THAT SENSE OF REALLY PERFORMING WELL, WHICH I THINK IS IMPORTANT, TOO. WHEN YOU’RE PART OF A GROUP THAT’S PERFORMING, YOU CAN SHARE IN THE SUCCESS OF THAT, EVEN IF YOU’RE NOT THE BEST. SO, THERE’S SOMETHING ABOUT THE ANONYMITY; ABOUT BEING PART OF A CHORAL GROUP, OR AN INSTRUMENTAL GROUP, WHERE YOU GET TO SHARE THE BENEFIT OF ALL THE APPLAUSE, AND THANKS OF THE AUDIENCE…IF YOU’RE TEACHERS, EVEN IF YOU ARE NOT THE VERY BEST, THAT WAS IMPORTANT.” “I DIDN’T [GO TO THE KIWANIS FESTIVAL WITH MY STUDENTS]. I DID WHEN I WAS A CLASSROOM TEACHER, SOME SINGING, USUALLY FOR ‘SPEECH’, AGAIN BECAUSE I THOUGHT IT WAS IMPORTANT TO PERFORM. MAYBE FOR THE FIRST TEN YEARS OF MY TEACHING, AND THEN THERE WERE MORE OPPORTUNITIES WITHIN THE SCHOOL, THAT HADN’T BEEN THERE IN THE FIRST TEN YEARS. THEY DIDN’T SEE THE BENEFIT OF REGULAR ASSEMBLIES OR ANYTHING LIKE THAT.” “I STILL HAVE A BOX LABELLED MUSIC MAKING, WHICH HAS GOT A BUNCH OF LITTLE INSTRUMENTS, LIKE A RAIN STICK, AND THE THING THAT YOU BLOW THROUGH TO MAKE THE TRAIN SOUND, AND MARACAS…IT PARTICULARLY REMINDS ME OF THE MUSIC TEACHING AT SENATOR BUCHANAN, WHICH IS WHAT I DID MORE OF THAT THAN ANY OTHER KIND OF TEACHING, AND JUST THE FUN THAT WE HAD. FOR ME, WHEN YOU ARE THE PRINCIPAL OF A SCHOOL, YOU’RE REALLY ‘ON-CALL’ ALL THE TIME, BUT, WHEN I WAS TEACHING MUSIC, I WOULD SAY, ‘OK, NOBODY BOTHERS ME. THE ONLY TIME YOU INTERRUPT ME IS IF IT’S THE SUPERINTENDENT, OR MY HUSBAND, OR IF THERE IS, LIKE SOMEBODY’S REALLY SERIOUS EMERGENCY, BUT, ANY OTHER POINT, DON’T BOTHER ME’…THAT, TO ME, WAS JUST A TIME I COULD HAVE FUN, AND ENJOY BEING WITH THE CHILDREN…I GUESS LOOKING AT HIM MAKES ME THINK OF THAT, EVEN THOUGH HE’S KIND OF UGLY.” FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20190005001-GA.
Catalogue Number
P20190005003
Acquisition Date
2019-02
Collection
Museum
Images
Less detail

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