"Each new acquisition strengthens our reputation and significance, ensuring these assets gain widespread acclaim and use. Every year, the Whyte fields numerous requests for loans by other museums to augment their in-house or travelling exhibitions and also by researcher’s seeking quality materials from proven sources. The collections are fundamental to our engagement with our members and the many individuals we serve world-wide both in-house and online." Anne Ewen 
A long rectangular leather beaded bag. 37 cm fringe below a flower design with green background. Top edge is boarded with dark and light blue beads.

Unknown

Bag

leather; sinew; glass

n.d.

78.0 x 18.0 cm

Gift of Jan McGregor, Edmonton, 2020

103.08.1165; 103.08.1166

Jan Crosby McGregor donated these pipes with pipe bags that belonged to her maternal grandfather. Of them she recalled, “My paternal grandparents were Lou and Gertrude Crosby and my maternal grandparents were Eva and Dr. G.M. Atkin, all of Banff. The pipes and bags have their connection with Grandad Atkin who was a doctor in Banff from 1905 until his death in 1969. During much this time he was also the doctor for the people in Morley, and was much loved by them for his help over many years. One personal memory I have of him is regarding the Morley Band. In about 1966 when we were at the Banff Indian Days, a Morley rider was injured. Despite the modern ambulance and medical attendants present, the voice over the loudspeaker kept asking, “If Dr. Atkin is in the audience, could he please come to the first aid tent. Grandad was then 89 years old, frail and nearly blind; he was not there, but the faith and need of his patients was still strong.”

Scene showing Banff springs hotel at right perched on a hillside. In the background the Bow River winds through a valley between Tunnel Mountain and Mt. Roundly. More mountains in distance. Trees in foreground. My. Roundly is hazy, almost unfinished in appearance.

C. Firth

Banff Springs Hotel, Rocky Mountains 1887

watercolour on paper

1887

12.0 x 16.0 cm

Gift of Dorothy and Jim McLeod, Calgary, 2021

FiC.05.01

Jim and Dorothy McLeod donated these three charming historic watercolours by artist C. Firth depicting early scenes of the area. Titled "Silver City and Castle Mountain, BC, 1887" "Banff Springs Hotel, Rocky Mountains, 1887", and "Bow River, NWT, 1887" the artist’s identifications are curious. Firth is correct in identifying the Banff scenes as residing in the North West Territories since Alberta did not officially become a Province until September 1, 1905. But it is curious to note the incorrectly stated B.C. location of Castle Mountain. At present, we have no information about the artist and would greatly appreciate help in determining the life this individual.

Large river [The Bow River] with snow-capped mountains at back and stands of conifers on the banks. River winds from left foreground into right background. Stand of trees at right foreground.

C. Firth

Bow River NWT, 1887

watercolour on paper

1887

12.0 x 16.0 cm

Gift of Dorothy and Jim McLeod, Calgary, 2021

FiC.05.02

Jim and Dorothy McLeod donated these three charming historic watercolours by artist C. Firth depicting early scenes of the area. Titled "Silver City and Castle Mountain, BC, 1887" "Banff Springs Hotel, Rocky Mountains, 1887", and "Bow River, NWT, 1887" the artist’s identifications are curious. Firth is correct in identifying the Banff scenes as residing in the North West Territories since Alberta did not officially become a Province until September 1, 1905. But it is curious to note the incorrectly stated B.C. location of Castle Mountain. At present, we have no information about the artist and would greatly appreciate help in determining the life this individual.

Letter to Jon in black india ink. 
�
454 EAST 8TH AVE APT 204
VANCOUVER BC
V5T 1S7, 4:20PM, APRIL 5/81

DEAR JON:
YOUR EPIC POEM HAS BEEN OF GREAT, GREAT INSPIRATION. I HAD DONE NO WORK OF MY OWN SINCE LAST SUMMER, WHEN I DID THE ONE HUNDRED DRAWINGS OF VANCOUVER GIRLS, CEASING ABOUT AUGUST 9TH. BUT WHEN I HEARD YOUR KELSEY UNCALCIFIED, I FRIED! THE HEAT OF THE POWER OF THE IMAGERY PROMPTED SERIES 1 & 11, THE BEST OF WHICH ARE ENCLOSED HEREWITH. THIS IS PERHAPS NOT WHAT YOU EXPECTED, NOT WHAT YOU FORESAW, BUT IT IS MY IMMEDIATE TWO-WEEK RESPONSE TO THE WORK. I RECALLED MY DRIVE WEST THIS LAST TIME_SEPT. 1RST TO 5TH �79 PLUS THE RECALLS OF THE TRIPS WEST WARD AND EASTWARD = 1950 (4) 1951 (4) 1952 (4) 1953 (4) 1955 (2) 1956 (0) 1957 (4) 1958 (2) 1959 (0) 1960 (0) 1961 (2) 1962 (0) 1963 (3) 1964 (0) 1965 (0) 1966 (2) 1967 (2) 1968 (2) 1969 (2) 1970 (0) 1971 (2) 1971 (2) 1972 (2) 1973 (2) 1974 (2) 1975 (2) 1976 (2) 1977 (0) 1978 (2) 1979 (4). BY AIR * BY TRAIN * ALL THE REST BY AUTOMOBILE, VIA U.S.A, VIA CANADA, 1980 * (2) TOTAL 59 TIMES!
SO SERIES 1 : 17 OF 25 AND SERIES 11: 8 OF 26. I DECIDED TO DISREGARD THE LIMITATIONS OF NUMBERS OF COLOURS.
THESE WERE EXECUTED IN CHIN-CHIN AND PELIKAN INDIA INK IN PR. PH MARTINS CONCENTRATED TRANSPARENT WATER COLOUR (INKS) ON CARTRIDGE PAPER 18� X 24�
LOVE, WRITE SOON HENRY HNR
KELSEY KLES BOOK OF : DENNIS BURTON�

Dennis Burton (1933 – 2013, Canadian)

Dear Jon

watercolour on paper

1981

58.45 x 43.2 cm

Gift of Katherine Govier, Toronto, 2020

BuD.03.16

The Dennis Burton (1933 – 2013, Canadian) portfolio of paintings directly relate to the book of poetry published by Jon Whyte in 1981 titled Homage, Henry Kelsey: a poem in five parts, a copy of which is held in the Archives Library (05.1 W62h). The pieces exhibited here are selections from the seventeen expressive items in this one of a kind donation from Katherine Govier.

Burton was born in Lethbridge and became an abstract painter after viewing an exhibition by Painter’s Eleven at Hart House in Toronto. He had numerous exhibitions and a number of important public commissions but he is best remembered for his Garterbeltmania series of females in their underwear.

Mountain landscape with large glassy lake in centre of painting. Abstract foliage and stand of dead trees in foreground at right. Brown treed slopes on opposite shore with large snow-capped mountains in distance. Small white and red buildings on far shore of lake. 

Title written in bottom left corner. �F.M. Bell-Smith 1887� at bottom right.

Frederic Marlett Bell-Smith, R. C. A. (1846 – 1923, Canadian)

Hector Lake, Kicking Horse Pass, BC

watercolour on paper

1887

32.8 x 48.0 cm

Gift of Mark Cullen, 2021

BeS.05.07

The Whyte is genuinely thrilled to be the proud recipient of both the watercolour and photograph from Mark Cullen. This immaculately preserved 1887 painting by Frederick Marlett Bell-Smith, R.C.A. (1846 – 1923, Canadian) is one of the masterpieces from the CPR era of painters, who came west between 1886 – 1914. Titled "Hector Lake, Kicking Horse Pass," Bell-Smith was selected for the second year of the CPR’s free pass program which encouraged artists to travel west and capture the beauty of the region as a means of promoting tourism. On that same trip was Montreal photographer William McFarlane Notman (1857-1913, Canadian) who photographed Bell-Smith painting Hector Lake.

Mountain landscape with large lake dominating the centre. A small white building and storage tank [possibly a refueling station] can be seen on the far side of the lake. Train tracks run the width of foreground and seated figure [known to be Fredrick M. Bell-Smith] at easel in bottom right corner. 

Title typed in bottom left corner. Manufacturer�s mark �WM. NOTMAN & SON, MONTREAL� typed in bottom right.

William Notman (1826 – 1891)

Kicking Horse Lake Looking East, Hector on the Canadian Pacific Railway

photographic print on paper

1887

22.6 x 27.8 cm

Gift of Mark Cullen, 2021

NoW.18.01

The Whyte is genuinely thrilled to be the proud recipient of both the watercolour and photograph from Mark Cullen. This immaculately preserved 1887 painting by Frederick Marlett Bell-Smith, R.C.A. (1846 – 1923, Canadian) is one of the masterpieces from the CPR era of painters, who came west between 1886 – 1914. Titled "Hector Lake, Kicking Horse Pass," Bell-Smith was selected for the second year of the CPR’s free pass program which encouraged artists to travel west and capture the beauty of the region as a means of promoting tourism. On that same trip was Montreal photographer William McFarlane Notman (1857-1913, Canadian) who photographed Bell-Smith painting Hector Lake.

Mountain scene with rocky cliff interspersed with stands of conifers at left foreground. Large mountain [Mt. Stephen] with snow filled central gully and snow-capped peak in background. Signed �Thos W. Fripp 1925� at bottom left.

Thomas W. Fripp (1864 – 1934)

Mt. Stephan, B.C.

watercolour on paper

1925

51.0 x 38.0 cm

Gift of Rod Green, Calgary, 2021

FrT.05.01

The Thomas Fripp watercolour, "Mt. Stephen, BC," was purchased at auction and donated by Whyte Museum Board Member Rod Green. A third generation watercolourist, Fripp spent much of his career in Vancouver. Among his many accomplishments and involvements, Fripp along with Emily Carr and others, established the British Columbia Society of Fine Arts in 1909, becoming the first chartered art society in the province. Fripp’s watercolour demonstrates his mastery in the handling of this very difficult artistic medium.

A long light wood hallow dowel with maroon metal pipe.

Unknown

Pipe

wood

n.d.

47.5 x 16.5 cm

Gift of Jan McGregor, Edmonton, 2020

103.08.1167 a,b; 103.08.1168 a,b

Jan Crosby McGregor donated these pipes with pipe bags that belonged to her maternal grandfather. Of them she recalled, “My paternal grandparents were Lou and Gertrude Crosby and my maternal grandparents were Eva and Dr. G.M. Atkin, all of Banff. The pipes and bags have their connection with Grandad Atkin who was a doctor in Banff from 1905 until his death in 1969. During much this time he was also the doctor for the people in Morley, and was much loved by them for his help over many years. One personal memory I have of him is regarding the Morley Band. In about 1966 when we were at the Banff Indian Days, a Morley rider was injured. Despite the modern ambulance and medical attendants present, the voice over the loudspeaker kept asking, “If Dr. Atkin is in the audience, could he please come to the first aid tent. Grandad was then 89 years old, frail and nearly blind; he was not there, but the faith and need of his patients was still strong.”

Town of low wooden buildings in brown meadow with train bridge crossing river at left. Logs and blackened trees in foreground. Tree-covered and snowcapped mountains in background beneath sliver of blue sky. Signature and date (15/11/1887) in lower right corner. Gold painted wood frame with thick white linen mat. White label on back for Masters Gallery Ltd.

Edward Roper (1854 – 1891, English)

Revelstoke, Lower Town

oil on canvas

1887

31.5 x 44.4 cm

Gift of Robyn L Fulton, 2021

RoD.02.01

Edward Roper who as a painter and illustrator who visited Canada several times. This stunningly wonderful painting titled Revelstoke, Lower Town was produced during his last visit to Canada in 1887 and is indicative of his skill and technique. Roper was fascinated by western pioneer life and painted numerous canvases depicting settlement in the 1880s. His illustrated book By Track and Trail: A journey through Canada, published in 1891, provides a fascinating societal observations. A reference copy (02.4 R68) is held in the Archives library.
Robyn Fulton generously donated three exquisite Canadian Pacific Railway (CPR) era paintings by Charles Jones Way (1835 – 1919, British), Thomas Mower Martin, R.C.A. (1838 – 1934, Canadian) and Edward Roper (1857 – 1891, British). We were first introduced to these remarkable paintings when they were loaned to us for the 2021 summer exhibition Drawn to the West.

Collection of low log buildings in an open field with A large mountain [Castle Mountain] rising up in the distance. Mountain appears hazy, almost unfinished.

C. Firth

Silver City and Castle Mountain, B.C., 1887

watercolour on paper

1887

12.0 x 16.0 cm

Gift of Dorothy and Jim McLeod, Calgary, 2021

FiC.05.03

Jim and Dorothy McLeod donated these three charming historic watercolours by artist C. Firth depicting early scenes of the area. Titled "Silver City and Castle Mountain, BC, 1887" "Banff Springs Hotel, Rocky Mountains, 1887", and "Bow River, NWT, 1887" the artist’s identifications are curious. Firth is correct in identifying the Banff scenes as residing in the North West Territories since Alberta did not officially become a Province until September 1, 1905. But it is curious to note the incorrectly stated B.C. location of Castle Mountain. At present, we have no information about the artist and would greatly appreciate help in determining the life this individual.

River winding through rocky mountains. River is calm in foreground and rougher in background. 4 figures on beach with two canoes at center right. Another figure with white pack horse on rocky outcrop above. Mountains primarily brown and grey with one snowcapped peak in distance. Trees and other shrubbery on rocky outcrop at right and on slopes at left and center distance. �CJ (overlapping) Way YALE BC� in red at lower right. In ornately carved gold painted wood frame with glass. White tag from Masters Gallery Ltd. on back.

Charles Jones Way (1835 – 1919, British)

The Fraser River at Yale BC

watercolour on paper

c. 1900

52.0 x 75.5 cm

Gift of Robyn L Fulton, 2021

WaC.05.01

Jones Way was a British painter who spent many years painting in Canada, from Quebec to British Columbia. In the late 1890s Way, painting in Europe at the time, was commissioned by the president of Canadian Pacific Rail, William Van Horn, to return to Canada and paint the magnificent vistas made accessible to the masses through the construction of the transcontinental railway. This magnificent painting, The Fraser River at Yale BC, illustrates an idyllic summer scene in the mountains complete with figures enjoying the abundant recreational experiences these landscapes offered.
Robyn Fulton generously donated three exquisite Canadian Pacific Railway (CPR) era paintings by Charles Jones Way (1835 – 1919, British), Thomas Mower Martin, R.C.A. (1838 – 1934, Canadian) and Edward Roper (1857 – 1891, British). We were first introduced to these remarkable paintings when they were loaned to us for the 2021 summer exhibition Drawn to the West

Purple-grey mountain range in background, green meadow with scattered conifers in foreground. Yellow-pink sky above. �TM. MARTIN RCA� in red along bottom edge. In silver painted wooden frame with carved floral pattern along edge. White linen mat. Glass at back of frame to show artist�s writing. White label from Masters Gallery Ltd. below.

Thomas Mower Martin, R. C. A. (1838 – 1934, Canadian)

The Sawback Mountains near Banff

oil on board

c. 1900

15.5 x 33.5 cm

Gift of Robyn L Fulton, 2021

MrT.02.02

Thomas Mower Martin was a mostly self-taught painter born in England, who came to Canada in 1962. He settled in Toronto in 1880 and was selected as a member of the “Railway Painters”, a group of painters employed by the Canadian Pacific Railway to document the construction of the railroad through the Canadian Rockies. His oil painting The Sawback Mountains near Banff is from this period of employment with the CPR and depicts one of Banff’s most prominent mountain ranges in the early years of the town and newly created park.
Robyn Fulton generously donated three exquisite Canadian Pacific Railway (CPR) era paintings by Charles Jones Way (1835 – 1919, British), Thomas Mower Martin, R.C.A. (1838 – 1934, Canadian) and Edward Roper (1857 – 1891, British). We were first introduced to these remarkable paintings when they were loaned to us for the 2021 summer exhibition Drawn to the West.

Tent in centre with two brown bears at right. One bear has his head inside the tent through a flap. At left, a man in yellow pajamas and a woman in a nightgown are leaping out of the tent. Trees and dark sky behind.

John Davenall Turner (1900 – 1980, Canadian)

Untitled [Bears in Campsite]

ink; watercolour on paper

n.d.

50.0 x 64.0 cm

Gift of John Davenall Turner (Estate), 2020

TuJ.03.13

The gift from the John Davenoll Turner estate reconnects the Whyte Museum with this wonderful artist and adds to the work previously registered in the collections. A proficient landscape painter and charming humourist, the Peter Whyte Gallery hosted the very popular exhibition "John Davenoll Turner: The Artful Codger" in December 1978.
In addition to his own art practice, Turner and his wife Grace established the Canadian Art Galleries in Calgary in 1945, a risky enterprise at the time but one they managed for 20 years. It was the first commercial gallery in Calgary and the only one in Canada with the sole purpose of only promoting Canadian artists. As a result, it was an admired destination for artists and art connoisseurs. In the Archives are articles, correspondence, and publications pertaining to John Davenoll Turner.

Relief featuring two horses at left moving away from the viewer. At right is �window� with 5 vertical bars [trees?]. Relief has soft texture all over. Green tinged bronze. Inscription at bottom edge reads �lois 2012 6/6�. Two loops carved at back and threaded with short length of wire for hanging.

Lois Green

Window of Hope

bronze

2012

23.5 x 24.5 cm

Gift of Lois Green, 2021

GrO.16.01

Lois Green’s sculpture Window of Hope was exhibited in our 2019 summer exhibition Unbridled curated by D. L. Cameron. We were very pleased when Lois agreed to donate this descriptive bronze which is part of a series she worked on in 2013. The series traces her experiences following the wild horses and wolves who roam the lands at the foot of the Canadian Rockies. Because of human encroachment, these creatures are sadly at risk of distinction.

Of her work Lois Green commented: “While the depiction of landscape in sculpture is relatively rare, it became an essential component in my work. I found expression in a series of low relief bronzes, progressively and collectively telling my story of the horses and wolves in the Ghost River wilderness area. As I rode through the forest on horseback my perception seemed to alter. From my raised vantage point, I could see with greater clarity and hear with heightened acuity and respond more sensitively to the changing plays of light and shadow.”


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