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.”

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.

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.

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.

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.

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.

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.

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.”

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.

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.

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

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.

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.

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.”