A quiet prairie barn, painted in Edmonton in 1971 and sold through a local art shop. This small work by Ferdinand Friedl is less about nostalgia than it is about presence — a record of how art circulated, what it depicted, and how everyday landscapes were once brought home and lived with.

A winding path, a quiet cabin, and trees glowing at the edge of winter—signed B. Long, and painted with a calm, deliberate attention that rewards time spent looking.

A quiet mountain lake, painted by someone who lived close enough to return again and again. This mid-century landscape by Reuben Carlson reflects a regional practice rooted in familiarity, observation, and place — not spectacle, but presence.

A signed landscape by Lorne Presniak, depicting a rural creek, ducks, and autumn trees. A quietly composed scene preserved without formal record beyond the name on the canvas.

Two wood-panel landscapes by E. Robinson, each named and rooted in the Fraser Canyon. Steamboat Rock and Mt. Skihist, painted with weight, texture, and a clear commitment to place.

Signed E. Hogg and otherwise undocumented, this modest landscape captures a place known through daily life. A fragment of regional painting history that survives without a name attached to it.

Working life, rendered quietly in paint.

I don’t know exactly where this landscape was painted, only that it’s signed H. Belley. A small cabin sits beneath towering rock faces, held in place by paint and memory. I came across it by chance, and kept it because it feels rooted—made by someone who spent time looking.