The sketch above was submitted to War Prisoners’ Aid for consideration of being printed as one of the annual Christmas cards produced by the organization and distributed to PoWs in Canada. The artist, Rudi Boege, was a civilian internee at Camp 70 (Fredericton, NB) and, as the spokesman described, one of the most gifted artists in the camp.
The design shows PoWs gathered around a bonfire and the campleader explained it had special meaning to the internees at Camp 70 for every Christmas eve, the internees lit a bonfire on the parade ground.
To my knowledge, the card was never produced. The War Prisoners’ Aid instead settled on a card depicting Camp 133 (Lethbridge, AB).
Merry Christmas to all my readers and best wishes in the new year!
Camp 133 near Ozada, Alberta seems to have been among the most popular locations for Prisoners of War in Canada to paint during the Second World War. Situated on the Mortley Flats, the camp offered stunning views of the nearby Rocky Mountains and, despite living in tents during a wet summer and cold fall, was fondly remembered by former PoWs for its scenic location. Following one of my last posts about a painting of the Oazada, I’m here today showing another, albeit quite different, perspective of the camp. In contrast to the snow-covered scene painted by Siebein, this version shows a much warmer and greener depiction of Camp 133.
“K.G. Lager 133” (Kreigsgefangenen Lager 133) prominently features the barbed wire fences, floodlights, and guard towers that surrounded the camp. Twenty such guard towers surrounded the camp, with guards constantly keeping a watchful eye on the thousands of prisoners interned within. The single strand of barbed wire was a warning wire which PoWs were instructed not to cross unless they wished to risk being fired upon. The mountains once again dominate the background and I believe this is a view of the northwest area of the camp, quite possibly showing the same mountains seen in this imagery captured by Google Streetview. The reverse shows the painting was a gift from PoW August Pass to one of his barrack mates.
The artist appears to have signed his initials, “P.E.” but I have not been able to identify him. Going through the lists of PoWs interned at Ozada, I was able to come up with ten men with the initials P.E. Unfortunately, none of their pay records indicate them selling any artwork (though this does not rule any of them out) and as PoWs signed their pay records with their last name, I was not able to match the initials. However, I’ve included the names below in the hope that perhaps someone will be able to identify the artist.
- Peter Edenhofer
- Paul Eichstäder
- Paul Eggers
- Paul Enders
- Phillip Enders
- Paul Enke
- Peter Enkirch
- Paul Ermrich
- Paul Essner
- Paul Ewald
Hopefully I will be able to identify the artist but in the mean time, if you have any information about this artist or have paintings you would be willing to share, please get in touch!
For more paintings from Camp 133 (Ozada), click here.
Captured in North Africa, Kurt Siebein was sent to Canada in September 1942. Likely disembarking in New York, after a long train journey, he and his fellow PoWs arrived at Camp 133 at Ozada, Alberta. A temporary tented camp at the foothills of the Rocky Mountains, Ozada held thousands of German PoWs while the new internment camp at Lethbridge was being constructed. While a scenic location for an internment camp, the camp was not without its problems. Life in tents during a particularly wet summer and then in the early months winter – the first Canadian winter for many of the PoWs – was far from ideal. However, by late November 1942, the new camp at Lethbridge was completed and the PoWs were transferred there by December.
An artist, Siebein painted this watercolour during his brief stay at Ozada. “K.G.-Lager Ozada 1942” (K.G.-Lager referring to Kriegsgefangenenlager, German for prisoner of war camp) shows life at Ozada in that final month before the transfer to lethbridge. A single PoW is visible, with the red circle on his jacket and the red stripe on his trousers marking him a PoW, walking his dog down a line of tents. A single guard tower and the Rocky Mountains feature prominently in the background.
This particular painting was sold or traded to Hans Gronenburg, a PoW from the Luftwaffe who arrived in Canada in 1940 and was transferred to Ozada in June 1942.
While I have yet to uncover more examples of Siebein’s paintings, it appears as though he continued painting throughout his internment in Canada. His pay record shows he sold a number of watercolour and oil paintings at art and craft sales in 1945, netting him $24.50, but this does not account for any sold or traded to his fellow PoWs. Siebein spent most of his time in Canada at Lethbrigde but spent the summer of 1946 employed on farmwork. He was transferred to Great Britain on November 24, 1946.
If anyone as any other examples of Siebein’s art or any other PoW art, please get in touch!
Last year, I wrote a post featuring some artwork by PoW Richard Schlicker. My hopes were that others would come forward with more examples of Schlicker’s artwork and, a year later, the result was just that. Laura stumbled across my blog and emailed me three pictures of paintings from Richard Schlicker that her father purchased while serving as a camp guard, likely at Lethbridge. All three feature scenes at Camp 133 – Ozada, Alberta and, like those in my earlier post, were probably purchased at one of the art and craft sales hosted by the PoWs at Camp 133 in Lethbridge.
If anyone has any other examples out there, please get in touch!
Richard Schlicker was among the thousands of German soldiers captured in North Africa and subsequently shipped to Canada in 1942. First arriving at Camp 133 at Ozada, Alberta, Schlicker was later transferred to Camp 133 at Lethbridge, Alberta. With the exception of working on some Albertan farms in 1945, he spent the remainder of the war in Lethbridge before being shipped to the United Kingdom in March 1946.
While I know little else about Schlicker’s life, I do know that he was a talented artist that put his skills to use throughout his time in Canada. In a rather fortunate occurrence, I came across two of Schlicker’s paintings in Calgary this summer, the two watercolours shown below. Signed and dated 1944 and 1945 respectively, these paintings do not depict camp life but scenes more commonly found in Germany.
Nearly every internment camp had a group of artists and while some painted for themselves, others sold or traded their work with comrades and, although it was forbidden, the occasional guard. Sometime closer to the war’s end, Camp Commandants began allowing PoWs to hold art and handicraft shows, first for the guards and camp staff, and then to the general public. Rather than receiving cash, their profits (as far as I can tell, all profit went directly to the PoW) were added to their savings account or made available to them in the form of credit or chits which they could exchange at the camp canteen. Shows were quite popular and eventually held on a fairly regular basis. These two Schlicker paintings were sold at one such sale to the mayor of Lethbridge at the time, Alfred W. Shackleford, who later passed them down to his son.
While copying Schlicker’s pay records in Ottawa, I was pleased to find entries relating to his art sales. I was even more surprised to find that two entries specifically mentioning the sale of two watercolours – perhaps these two are from one of these sales! The entry also notes that Schlicker’s paintings were each being sold for $2.00 each.
But the surprising finds were far from over! Shortly after arriving home, I received an email from an individual asking if I’d be interested in scans of some PoW artwork from his uncle’s time as a PoW in Canada. Answering “of course!,” imagine my surprise when he forward a series of illustrations all drawn by Schlicker. These ones, however, depict life as a PoW in both Canada and North Africa. As PoWs were prohibited from owning or operating cameras, artwork such as this provide important insight into what life was like behind barbed wire.
While a search for more of Schlicker’s work has yet to reveal anything, perhaps someone who knows more will stumble upon this post!