Untitled (Woman with Braids)
Buggy Ride
Foothills Village
Tipis at Night
Indian Encampment
Gathering Wild Camas Bulbs
Horse Travois
Jerry Potts
Indian Chief
Still Life of Indian objects
Ox Carts Approaching Fort Whoop up
Street of Fort Macleod – about 1887
Hoop Dance, Blood Reserve
Buggy Ride
Cheyenne Bows, Arrows and Case
Little Hoy’s Shield
Coat of Philip Big Swan
Blackfoot Drum, Giving Life History of Eagle Tail Feathers
Indian Travois
Pouch and Powder Horn
Cloth with Beaded Crocus Design
Cree Indian Water Bottle
Indians and Child
Study of Flower Designs
Decorated Shirt of Peigan or Blood Indian (Front View)
War Bonnet Belonging to Tallow
Design from Tallow’s Saddle Blanket of White Buckskin
Prairie Chicken Dance, Blood Indian Reserve
Indian Papoose
Indian Headdress
Tipi of Mike Mountain Horse’s Father
Otter, Elk and Buffalo Tipi
Pat Bad Eagle, Peigan Indian (Aged About 60)
Indigenous Paintings by Annora Brown in the Glenbow Museum photographed, digitized and made available to the public in September 2016.
Picture courtesy of Mary-Beth Laviolette

Annora Brown

Our goal is to preserve and record the life and achievements of Ms. Brown. If you have any information, know where we can locate private / public paintings, would like to send us copies of books or you are willing to donate to help with costs for acquiring / re-matting paintings and prints etc., please contact us at
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The Indian Act, passed by the Federal Government in 1876, sought to remove Aboriginal children from the influence of their culture and assimilate them into the dominant Canadian culture. The last Federally operated Residential School was not closed until 1996.

 Of these terrible times, Justice Murray Sinclair noted that “for seven generations Aboriginal children were told their lives were not as good as the non-Aboriginal children of this country. Their languages and cultures were irrelevant … their people and their ancestors were heathens and pagans … uncivilized … they needed to give up that way of life and come to a different way of living … Furthermore, white children were taught the same thing …!”

 Reflecting on the Truth and Reconciliation Commission Report (2016), James Ralston Saul celebrated the remarkable resurgence of Aboriginal peoples, not only in terms of numbers, but to positions of increasing power, creativity and influence. He noted the ways in which our society responds to this opportunity is the greatest issue of our time, the one for which we will be remembered and judged by history.

 Annora Brown knew only too well the plight of the Blackfoot people who, over too many years, were deprived by the loss of the buffalo, devastated by small pox, forced to live on Reservations under the control of the Indian Act, and required to send their children to Residential Schools.

 Brown “engaged in a life-long study of the Plains Indian Culture … She meticulously recorded the artifacts and ways of life of the First Nations people who lived in the Fort Macleod area. She studied their customs and wrote several newspaper articles explaining them. She was one of the first artists to paint aboriginal people in a contemporary sense…

 “She did more than capture their images. She sought to understand their thinking … made a serious study of the symbolism in the Blackfoot designs, their legends and culture. She was interested in history, natural science and photography and took many photographs of the Blackfoot … Meticulously researched, Brown wrote about them with an acute insight into the meaning of native designs and customs, and with a sense of their importance in the passing of a culture …

 “Brown illustrated several books about Aboriginal people, including Totem, Tipi and Tump Line by Clara Tyner and Olive Fisher and Winged Canoe at Nootka and other Stories of the Evergreen Coast by Pamela Stephens. Her own book, Old Man’s Garden, provides a detailed account of wildflowers and plants found in the West and offers the reader the Blackfoot legend for each plant as well as the more scientific history of them …

 “Brown recognized the beauty in the decorations and symbols of First Nations artwork as noted in her autobiography. ‘The art of the Plains Indians has been slighted because of the transitory quality of the materials from which it was made.’ Her appreciation of the Blackfoot culture opened for Brown many doors into their world, giving her a privileged insight into the difficulties of their lives …”

(quotes are from a 2005 thesis for University of Calgary, by Patricia Alderson titled Annora Brown: Forming a Regionalist Sensibility)
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Digitized photographs of 260 Annora Brown paintings in the Glenbow Museum (wild flowers, Blackfoot culture & art, landscapes in the Oldman and Waterton River drainage area) can be viewed at:
Mountain Shooting Star 58.45.23 - Collection of Glenbow
Used with permission of Annora Brown Estate