those pieces were likely made by local Calgary jeweller and member of the Calgary Exhibition and Stampede board of directors, David E.
If Borein's art work consolidated a visual identity for the Stampede in the 1920s, it was the ingenuity of Charlie Beil, one of Russell's proteges, who helped elaborate it over the next three decades.
Awarding rodeo trophy bronze sculptures as rodeo prizes was an innovation unique to the Calgary Stampede.
In 1972, the Calgary Stampede invited five sculptors to continue the Beil's tradition: Malcolm MacKenzie, Come Martens, Gina McDougall, Douglas Stephens, and Gerald Tail Feathers.
23) This mandate is evident to this day in the arts and crafts section organized by the Calgary Stampede's Western Showcase committee and in its high school art competitions and art scholarship programs organized in conjunction with the Calgary Stampede Foundation.
When the Exhibition and Stampede organizations merged in the 1920s, the educational mandate of the arts displays could have begun to reflect western subjects.
It returned again in 1929 after the Stampede built an art gallery on the second floor of the grandstand building.
For more information on the opening of the new Dixie Stampede
attraction in Orlando, contact Ted Miller at Dolly Parton Productions; for more information regarding the Imagination Library program's expansion, contact David Dotson at the Dollywood Foundation.
The Calgary Exhibition and Stampede owes its survival to the City of Calgary.
In many ways, the Stampede functions like a private company.
One has only to note the active presence of senior city officials within the Stampede organization.
Another factor binding City officials to the Stampede was its high public profile, which was largely the result of its astonishing success in attracting wealth and influence to volunteer leadership positions.
In addition to elite recruitment, the Stampede moulded its leaders through its associate directorship and volunteer service, often making the point that the presidency could not be secured through influence or money.
Co-operation between the City of Calgary and the Exhibition and Stampede was rooted in the belief that the latter benefited the former commercially.
In 1944 Mayor Andrew Davison said the Stampede had done more to advertise Calgary than any other single agency.