tag:blogger.com,1999:blog-576933427984317722024-03-13T03:33:07.411-04:00Musée Colby-Curtis Museum BlogHistoire et patrimoine du comté historique de Stanstead, dans les Cantons-de-l'est (Québec, Canada)
History and Heritage of the county of Stanstead,
in the Eastern Townships (Québec, Canada)Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-57693342798431772.post-48389344476119857592012-06-23T17:33:00.000-04:002012-06-23T17:40:15.712-04:00<span class="Apple-style-span" style="color: lime;">Des images de notre nouvelle exposition / Images from our new display :</span><span class="Apple-style-span" style="color: #ffd966;"> </span><br />
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<span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="color: yellow;">Pionniers de l'imprimerie </span></span></h2>
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<span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="color: yellow;">dans les Cantons-de-l'Est</span></span></h2>
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<span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="color: #ffd966;">Pioneer Printers in the Eastern Townships</span></span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicWGxQ5QkhLGk-LeJBC0KlieDDkpqrqQyHlAHifLoMgv5kL7k3q_x9pG6vcb6znphmyecz52QAHQXjEcXttZhNuwt72zfPW5cJ5M4NSBvmaLMNRyD9LTMGL9dGiomXz6XxphUOJd6Ujs4/s1600/Typographie+Stanstead.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicWGxQ5QkhLGk-LeJBC0KlieDDkpqrqQyHlAHifLoMgv5kL7k3q_x9pG6vcb6znphmyecz52QAHQXjEcXttZhNuwt72zfPW5cJ5M4NSBvmaLMNRyD9LTMGL9dGiomXz6XxphUOJd6Ujs4/s640/Typographie+Stanstead.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">L'atelier de typographie et le personnel du <i>Stanstead Journal Printing Office</i>, vers 1905.<br />
The composition room and staff of the <i>Stanstead Journal Printing Office</i>, circa 1905.<br />
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-size: xx-small;">(Archives, </span><span class="Apple-style-span" style="font-size: 13px;"><span class="Apple-style-span" style="font-size: xx-small;"> </span><i><b><span class="Apple-style-span" style="font-size: xx-small;">Stanstead historical Society</span></b></i><span class="Apple-style-span" style="font-size: xx-small;"> / </span><b><i><span class="Apple-style-span" style="font-size: xx-small;">Société historique de Stanstead</span></i></b><span class="Apple-style-span" style="font-size: xx-small;">)</span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJQWggag6aiWmZo957p_Z9TzulBWqL-PVtLn8xMSaw09o-x_JvR7JMghiOYIuFJ1EqcH8kEDss-tJ8oQs50Nfue8_vZ7LYRqafd8eY3TQb5_x7WTM7T62pAQ-ZksvxMtjrf_LpvnJJkGA/s1600/HPIM4103+-+copie.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="479" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJQWggag6aiWmZo957p_Z9TzulBWqL-PVtLn8xMSaw09o-x_JvR7JMghiOYIuFJ1EqcH8kEDss-tJ8oQs50Nfue8_vZ7LYRqafd8eY3TQb5_x7WTM7T62pAQ-ZksvxMtjrf_LpvnJJkGA/s640/HPIM4103+-+copie.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b>Les pionniers de l'imprimerie dans les Cantons-de-l'Est</b></i> : une exposition interactive, où les presses et la typographie anciennes seront mises à contribution pour des ateliers et des démonstrations publiques. La salle des presses, montrant<br />
à gauche, la presse à platine <i>Golding Jobber</i> modèle 88 (1888), avec son moteur électrique de 1918.<br />
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<i><b>Pioneer Printers in the Eastern Townships</b></i> : A "hands-on" exhibition where the early type and presses will actually be used in various workshops with students and the public. Here is the press-room, showing left a <i>Golding Jobber</i> platen press, model 88 (1888), with it's electric motor added in 1918. Right, two typesetters' marbles.<br />
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<span class="Apple-style-span" style="font-size: xx-small;">(Collection </span><i><b><span class="Apple-style-span" style="font-size: xx-small;">Musée Colby-Curtis Museum</span></b></i><span class="Apple-style-span" style="font-size: xx-small;">, Stanstead)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM7l9It-v5cEMmQKKtjN3-zGYqUyYGYUj_6glmxHAcpyA1ladqjvBkfkZCd4cQP1wlMAx5dI4ORCJ2rylC1o4CYxLyJY_WMg5PKsJoqLqdFOhTPZjDNvlPTMnZxH4q1olFh6iwpgWbUmU/s1600/HPIM4110+-+copie.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM7l9It-v5cEMmQKKtjN3-zGYqUyYGYUj_6glmxHAcpyA1ladqjvBkfkZCd4cQP1wlMAx5dI4ORCJ2rylC1o4CYxLyJY_WMg5PKsJoqLqdFOhTPZjDNvlPTMnZxH4q1olFh6iwpgWbUmU/s640/HPIM4110+-+copie.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b>Les pionniers de l'imprimerie dans les Cantons-de-l'Est</b></i> : Un point de vue depuis l'atelier de typographie, montrant<br />
les marbres de composition provenant du <i>Stanstead Journal</i>, ainsi qu'en arrière-plan, une presse à platine <i>Gordon Challenge</i> (vers 1870), qu'on utilisait au <i>Stanstead Journal Printing Office</i> pour les "travaux de ville" (job printing).<br />
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<b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><i><b>Pioneer Printers in the Eastern Townships</b></i> : A view from the composing room, showing the typesetting marbles from the <i>Stanstead Journal</i>, as well as in the background, the </span><span class="Apple-style-span" style="font-weight: normal;">Gordon Challenge</span><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"> platen press (circa 1870), which was used at the <i>Stanstead Journal Printing Office</i> for routine job printing.<br /><br /><span class="Apple-style-span" style="font-size: xx-small;">(Collection </span><i><b><span class="Apple-style-span" style="font-size: xx-small;">Musée Colby-Curtis Museum</span></b></i><span class="Apple-style-span" style="font-size: xx-small;">, Stanstead)</span></span></i></b></td></tr>
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<br /></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com1tag:blogger.com,1999:blog-57693342798431772.post-29311855864640904532012-06-05T17:15:00.003-04:002012-06-07T13:22:56.215-04:00<span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="color: yellow;">Expositions au Musée : Été 2012</span></span><br />
<span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="color: yellow;">Exhibitions at the Museum: Summer 2012</span></span><br />
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<br />Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-108221289579195232011-08-04T19:51:00.000-04:002011-08-04T19:51:33.799-04:00Reaching out : A new edition of our exhibition on North Hatley...in North Hatley !The Colby-Curtis Museum is presenting, from July 29th until September 5th, an exhibition entitled :<br />
<div style="text-align: left;"><i><b><span class="Apple-style-span" style="color: yellow;"><span class="Apple-style-span" style="font-size: large;">North Hatley 1886-1914 : </span></span></b></i></div><div style="text-align: right;"><i><b><span class="Apple-style-span" style="color: yellow;"><span class="Apple-style-span" style="font-size: large;">From "rustic village" to cottage community</span></span></b></i></div><div style="text-align: right;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><b>Colored postcard of North Hatley</b>, ca 1910, used as a basis for the graphics in the exhibition.</td></tr>
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This exhibition had been prepared and put on display at the Colby-Curtis Museum in Stanstead in 2008. It had always been our goal to show it on site, <b><i>in North Hatley itself</i></b>, as a means of reaching out to our clientele and members living in other parts of the territory we serve -- that is, within the boundaries of historical <i>Stanstead County</i>, as it was known when the Stanstead Historical Society was founded in 1929. In this case, we felt that the residents of North Hatley were entitled to see this exhibition in their home town, and that visitors to the village would take advantage of this showing to learn more about the beautiful area and peaceful people they were visiting. We also felt that residents of our area, outside of Stanstead proper, should be made aware that the <b>Colby-Curtis Museum</b>'s resources -- archives, collections, staff and know-how -- were always available to them, and that the museum was keen on developing outreach programs and services aimed at the region at large.<br />
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The <i>North Hatley 1886-1914 </i>exhibition is being shown this summer at the <b><u><span class="Apple-style-span" style="color: yellow;">Gillygooly Art Gallery</span></u></b> of <b>North Hatley</b>, located at <span class="Apple-style-span" style="color: yellow;">96, Hatley Centre Road</span>, about 1 km east from the village center. <b>Visiting hours</b> are : from <b>1 p.m. to 5 p.m., seven days a week</b> -- and <i><b>admission is free</b></i>, courtesy of several sponsors from North Hatley, and from the <b><i>Caisse Populaire of Stanstead</i></b>. We would like to express our warmest thanks to Mrs. <b>Margot Graham-Heyerhoff</b>, owner of the Gallery, who volunteered her space and her own time free of charge to hold the event : it was also courtesy of Mrs. Heyerhoff that visitors were greeted with good wine and food for the vernissage, held on July 29. The event brought together over 150 rather enthusiastic viewers.<br />
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<tr><td class="tr-caption" style="text-align: center;">Panoramic photograph by Robert L. Colby</td></tr>
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This exhibition was initially researched and curated by <b>Chloe Southam</b> is 2008, designed by <b>Pierre Rastoul</b>, with graphic contributions by <b>Sylvain Leblanc</b>. The funding for its production was generously donated by Mrs. <b>Nicole Marcil-Gratton</b> and Mr. <b>Robert Gratton</b>, as part of a 5-year series of exhibitions on <i>Summer Living in the Eastern Townships</i>.<br />
Since then, the contents have been revised and expanded for the North Hatley showing, using additional resources from the Colby-Curtis Museum collections, as well as artifact loans and other help by the <i><b>Le Baron General Store</b></i> in North Hatley, and from the <i>Société d'histoire de Sherbrooke</i>. The new installation was put in place by museum staff members <b>Geneviève Thibodeau</b> and <b>Marcel Laflamme</b>, under the supervision of director-curator <b>Pierre Rastoul</b>.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><i><b><span class="Apple-style-span" style="font-size: x-small;">Exhibits from the LeBaron General Store.</span></b></i></span></td></tr>
</tbody></table>The village of North Hartley was initially populated, during the first half of the 19th century, by settlers originating from various parts, either Canadian, British or American. In the early settlement, life was focused on subsistence : agriculture, forestry and diverse trades and crafts. In the mid 1880's, the "rustic" ways of life of North Hatley were radically transformed by incoming summer residents, most of them from <b><i>Baltimore</i></b> (Maryland) and, in later years, from other <b>southern states</b> of the United States. In this period following the <i>American Civil War</i>, Southerners were not too keen in spending their summers to cool off in the Northern states -- wartime dissensions, suffering and losses being still acute on both sides --, so they felt that going further north into Canada was more comfortable for summer vacationing. Consequently, North Hatley became a very popular resort destination for these American Southerners, who brought along their kin and relatives, at times their staff, to this neutral, peaceful and attractive village in the North.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photographs by Pierre Rastoul</td></tr>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizSsb1pR5u2lYhs0YoO8zaj9GJ6Mg8yHYCwfjVVgKAyVAE2GSNIn48XDqauOZ6VJn3mRU9aQ2wMsB-xHC3mkAYhaxws1r9yUQc2YNcBmTGQ6oiX4KSWd6uAr4GIUyTQJ8H4MTHa0d_h8E/s1600/HPIM3497.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizSsb1pR5u2lYhs0YoO8zaj9GJ6Mg8yHYCwfjVVgKAyVAE2GSNIn48XDqauOZ6VJn3mRU9aQ2wMsB-xHC3mkAYhaxws1r9yUQc2YNcBmTGQ6oiX4KSWd6uAr4GIUyTQJ8H4MTHa0d_h8E/s320/HPIM3497.JPG" width="320" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCQDvDcnKZvib96SRH-lrt9rdTJfXkTNSCyDoBmd_RqkaKTYFwRnANgkDpPdoMC99Qfwzqyfto85a1ShsOwq9KW2Ww2y_s8sLoNYYclWGGhBqxtmflW4WWStuXDu8dRwcHVQYsyoDQpak/s1600/HPIM3516.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCQDvDcnKZvib96SRH-lrt9rdTJfXkTNSCyDoBmd_RqkaKTYFwRnANgkDpPdoMC99Qfwzqyfto85a1ShsOwq9KW2Ww2y_s8sLoNYYclWGGhBqxtmflW4WWStuXDu8dRwcHVQYsyoDQpak/s320/HPIM3516.JPG" width="320" /></a> <div>Indeed, the coming of these summer residents brought about a boon in business for North Hatley locals, who began to cater to the newcomers, and build up an economy based on boarding houses and luxury inns, local services and transportation to the summering visitors, building cottages for them and, eventually, opening markets for their produce and woodland products in the Southern U.S.A.. <div><br />
</div><div>Stronger and stronger as the century came into the turn of the 20th century, this economic and demographic boom was boosted by ever-strengthening ties between locals and their visitors, and perhaps even more, by the advent of the railroad to North Hatley, when the <i>Massawippi Valley Railway</i>, and later, the <i>Boston & Maine Railroad</i> reached the "outlet" of Lake Massawippi at North Hatley, towards the end of the 19th century. Within 20 to 30 years, the face of North Hatley changed radically, turning its landscape and rustic ways of life, into a tightly-knit community of villagers, bound together by their summertime interactions and by a common love of the local scenery, if not the weather itself.<br />
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Such is the story, the "North Hatley Story", which is being told through words, and a wealth of images, maps and period artifacts in this fascinating exhibition. A warm welcome is extended to all.<br />
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</div></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com1tag:blogger.com,1999:blog-57693342798431772.post-43767473357659593112011-07-29T13:38:00.060-04:002011-08-03T17:53:00.510-04:00Deux nouvelles expositions au Musée Colby-Curtis<div style="text-align: right;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ04hwJSFGAiCFO23kOmKrTngYerbOCnm34doeleOS9CVpApKQ_Cmkw4GAI2O8pt1JXxq93J7LJhFaGzJyvyGgwbyKFedqYtZ22QEBiQEKTj47cFBnmT571O2-JxUcQWdjTyybuumYKoY/s1600/Anonyme+%2528Duncanson+%253F%2529%252C+de%25CC%2581tail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ04hwJSFGAiCFO23kOmKrTngYerbOCnm34doeleOS9CVpApKQ_Cmkw4GAI2O8pt1JXxq93J7LJhFaGzJyvyGgwbyKFedqYtZ22QEBiQEKTj47cFBnmT571O2-JxUcQWdjTyybuumYKoY/s640/Anonyme+%2528Duncanson+%253F%2529%252C+de%25CC%2581tail.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert S. Duncanson (1817-1872) - attribution<br />
<b>Paysage des Cantons-de-l'Est</b> (détail)<span class="Apple-style-span" style="color: #262626;">, v. 1850</span><br />
<span class="Apple-style-span" style="color: #262626;"></span><span lang="FR" style="color: #262626; font-family: Times; font-size: 10pt;">Huile sur toile,</span> non-signé<br />
<span class="Apple-style-span" style="color: #262626; font-size: 12px;">(Collection Musée Colby-Curtis)</span><br />
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<div><span class="Apple-style-span" style="font-size: large;">Le Musée Colby-Curtis présente, depuis le 17 juin dernier, deux nouvelles expositions temporaires, qui se poursuivront jusqu'au 10 octobre 2011 :</span><br />
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<span class="Apple-style-span" style="color: yellow;"><span class="Apple-style-span" style="font-size: large;">• </span></span><b><span class="Apple-style-span" style="color: yellow;"><span class="Apple-style-span" style="font-size: large;">Visions : Peintres et paysages dans les Cantons-de-l'Est </span></span></b><br />
<span class="Apple-style-span" style="font-size: xx-small;"> </span><span class="Apple-style-span" style="font-size: xx-small;"> </span><span class="Apple-style-span" style="font-size: xx-small;"> </span><br />
<span class="Apple-style-span" style="font-size: large;">Une remarquable sélection d'oeuvres représentant le paysage des Cantons-de-l'Est à diverses époques, depuis le début du 19e siècle jusqu'à nos jours. Les oeuvres présentées proviennent en partie de la collection permanente du musée; mais pour l'occasion, plusieurs collectionneurs individuels, ainsi que le Musée de beaux-arts de Sherbrooke, ont consenti à prêter des oeuvres importantes pour enrichir notre représentation.</span><br />
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<span class="Apple-style-span" style="font-size: large;">Les artistes représentés sont les suivants :</span><br />
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<span class="Apple-style-span" style="font-size: large;"><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8W9stLd6ZeMqUWzyBlVNJ3uVLmCu-ojgK1gPXz8cadulvrPA5JSsPkkc0ty0P1HlGOl1RDPxD3GVUfHD74x2rTIUJ9hO02AmuaNHr4eWojqb_zMiHXFRp254zsEtbqhcU9sVpuER16E/s1600/Artistes+PDF.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8W9stLd6ZeMqUWzyBlVNJ3uVLmCu-ojgK1gPXz8cadulvrPA5JSsPkkc0ty0P1HlGOl1RDPxD3GVUfHD74x2rTIUJ9hO02AmuaNHr4eWojqb_zMiHXFRp254zsEtbqhcU9sVpuER16E/s640/Artistes+PDF.jpg" width="640" /></a></div></div></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYKo85r9S7C1OtlvvQ1xQQKuUS0IASSF-itoAQawFP8La5L6PQeouGvZctgZ0yal4zEAuthvlpNrI5cBawDlaykZm_gkK6pDiphPTkAXvt8S-jScRvtRP5mttxFxagXcHKdHwlgxzKvc/s1600/Hunter+Dam+-+copie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYKo85r9S7C1OtlvvQ1xQQKuUS0IASSF-itoAQawFP8La5L6PQeouGvZctgZ0yal4zEAuthvlpNrI5cBawDlaykZm_gkK6pDiphPTkAXvt8S-jScRvtRP5mttxFxagXcHKdHwlgxzKvc/s640/Hunter+Dam+-+copie.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR" style="color: #262626; font-size: 10pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">William Stuart Hunter, Jr. (1823-1894)<o:p></o:p></span></span></div></div><div class="MsoNormal"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR" style="color: #262626; font-size: 10pt;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Près du lac Memphrémagog</span></b></span><span lang="FR" style="color: #262626; font-size: 10pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">, v. 1860-70<o:p></o:p></span></span></div></div><div class="MsoNormal"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR" style="color: #262626; font-size: 10pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Huile sur toile, non-signé</span></span></div></div><div class="MsoNormal"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span lang="FR" style="color: #262626; font-size: 10pt;"></span></span><span lang="FR" style="color: #262626; font-size: 9pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">(Collection Musée Colby-Curtis, </span></span><span class="Apple-style-span" style="color: #262626; font-size: 12px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">don de Mme Melodie Levitt, Ottawa)</span></span></div></div></td></tr>
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<tr><td style="text-align: center;"><span class="Apple-style-span" style="font-size: xx-small;"> </span><span class="Apple-style-span" style="font-size: xx-small;"> </span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnSAxbhYMmbyRq-SWA7mtpEA8xO8r5xhTCN0kjojNV8JDsmr3drHeldytJf33um3WCkZpieK84V-u2MXyc76WmMYSzRwSH-A6W-BKUSytLNYTmXi0r6u_m5J8K1sPFBFu9_janNbD_14/s1600/Samnuel+Kilbourn+-+Georgeville+1866+-+copie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnSAxbhYMmbyRq-SWA7mtpEA8xO8r5xhTCN0kjojNV8JDsmr3drHeldytJf33um3WCkZpieK84V-u2MXyc76WmMYSzRwSH-A6W-BKUSytLNYTmXi0r6u_m5J8K1sPFBFu9_janNbD_14/s640/Samnuel+Kilbourn+-+Georgeville+1866+-+copie.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR" style="color: #262626; font-size: 10pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Samuel Kilbourne </span></span><span class="Apple-style-span" style="color: #262626;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">(Americain, 1836-1881)</span></span></div></div><div class="MsoNormal" style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR" style="color: #262626; font-size: 10pt;"><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">La fenaison à Georgeville</span></b></span><span lang="FR" style="color: #262626; font-size: 10pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">, 1866<o:p></o:p></span></span></div></div><div class="MsoNormal" style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR" style="color: #262626; font-size: 10pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Huile sur toile</span></span><span class="Apple-style-span" style="color: #262626;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">, signé en bas à droite</span></span></span></div></div><div class="MsoNormal" style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR" style="color: #262626; font-size: 9pt;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">(Collection Musée Colby-Curtis, don de </span></span><span class="Apple-style-span" style="color: #262626; font-size: 12px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">M. & Mme Philip Scowen, North Hatley)</span></span></div></div></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iy5cRqVqYHhWyYxk7U5hmHZLFjCh1R1pRpu_v6ox562NY8DrKPAFRyhijLkiJ6-yuYUXMeq8a0aygZP6Yx0lt_f3Z3Ss66SdswqbcshodDUginmL0mqF9RitsaFjAzvr17fBpCT6YPE/s1600/Tree+Island+-+Jennifer+Brook+-+copie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iy5cRqVqYHhWyYxk7U5hmHZLFjCh1R1pRpu_v6ox562NY8DrKPAFRyhijLkiJ6-yuYUXMeq8a0aygZP6Yx0lt_f3Z3Ss66SdswqbcshodDUginmL0mqF9RitsaFjAzvr17fBpCT6YPE/s640/Tree+Island+-+Jennifer+Brook+-+copie.jpg" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jennifer Brook (1957 - )<br />
<b>Tree Island</b><br />
acrylique sur toile, 2009<br />
(Collection particulière)</td></tr>
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<b><span class="Apple-style-span" style="color: yellow;"><span class="Apple-style-span" style="font-size: large;">• Un pays transformé : Arpenteurs et paysages </span></span></b><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: large;"><span class="Apple-style-span" style="font-size: small;"><span lang="FR"><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times; font-size: small;"><b><span class="Apple-style-span" style="color: yellow;"><span class="Apple-style-span" style="font-size: large;">dans les Cantons-de-l'Est, des origines à nos jours</span></span></b></span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR"><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times; font-size: xx-small;"> </span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR"><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times; font-size: xx-small;"></span>Une exploration des transformations qui ont affecté le paysage du comté de Stanstead au fil du temps, tels qu’apportés par les colons, les fermiers, les villages et le tourisme, dans un panorama montrant comment </span></span></span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: large;">les arpenteurs et les cartographes ont illustré ces changements. Débutant à la fin du 18</span><sup><span class="Apple-style-span" style="font-size: large;">e</span></sup><span class="Apple-style-span" style="font-size: large;"> siècle, à une époque où le paysage régional était inchangé, encore dans son état naturel – sinon pour quelques campements Amérindiens – cette exposition se propose d’explorer les formes de terrain, les sols et les ressources minérales, les réseaux de rivières et de lacs, la végétation et le couvert forestier, depuis les premiers temps de la colonisation jusqu’aux paysages du 20</span><sup><span class="Apple-style-span" style="font-size: large;">e</span></sup><span class="Apple-style-span" style="font-size: large;"> siècle.</span></span></span><br />
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<span lang="FR" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="clear: right; display: inline; float: none; font-size: large; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: large;"></span></span></span></span>Par le biais des arpenteurs et des témoins de l’époque, on explorera comment les déboisements, pour l’aménagement de fermes et de villages, ont transformé le paysage en repoussant les forêts et en exposant le sol, mais aussi comment l‘agriculture a entrainé des modifications de la végétation dans son ensemble. De même, l’exposition s’attardera à la façon dont les villages se sont établis et leurs sites choisis, et comment le territoire fut partagé entre concessionnaires et colons, entre l’Église et la Couronne, dans cette trame de "cantons" qui nous valut le nom de </span><i><span class="Apple-style-span" style="font-size: large;">Cantons-de-l’Est</span></i></span><span lang="FR" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: large;">, ce qui, alors, n’avait pas d’équivalent ailleurs au Québec.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Joseph Bouchette (1774-1841)<br />
<b>Carte topographique du Bas-Canada</b>, Londres 1815 (détail)<br />
Détail montrant le comté de <b>Stanstead</b> (au centre), le <b>lac Memphrémagog</b> (à droite), le <b>lac Massawippi</b> (à droite, alors nommé "<i>Lac Tomifobia</i>"), ainsi que les localités de <b>Coventry</b> (Newport, en bas, à gauche) et <b>Derby</b>, au sud de la ligne frontalière (en rouge). On distingue bien, au nord de la frontière, le découpage des lots de "Townships", avec la répartition des terres réservées à l'Église et à la Couronne (marqués en grisé).</td></tr>
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<span class="Apple-style-span" style="font-size: large;">Les progrès de </span><span lang="FR"><span class="Apple-style-span" style="font-size: large;">l’arpentage et de la cartographie serviront de guide aux visiteurs, depuis l’époque où les arpenteurs Jesse Pennoyer et Joseph Bouchette vinrent ici pour établir la frontière Canada-U.S. et régler un litige de longue date sur son tracé. Plus tard, ces hommes et leurs fils, puis d’autres arpenteurs à leur suite, allaient effectuer la mesure des lots villageois et des fermes, tracer des routes et établir des bornes : ainsi, ils donnèrent au paysage une apparence fort différente, à mesure que les colons s’établissaient, que les villages et les réseaux routiers s’agrandissaient. À la longue, l’agriculture, la foresterie et l’industrie, les villégiateurs et le tourisme, entrainèrent d’autres mutations pour créer le paysage que nous connaissons aujourd’hui.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWmgllF8zBV8n-I2vkX78Ndc1yUFwbmtEPjV-ZG0Cn-BfvfxqNxlzA23XpYDGEnsszoL-mn_bJhTVpjqZ4OtWc_yqASHF9QcEXV3IxPd14SpQUwJRZkO_MnCKs9lA3CTXgEPqT6-8-QL4/s1600/Chai%25CC%2582ne+Arpenteur+-+copie.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWmgllF8zBV8n-I2vkX78Ndc1yUFwbmtEPjV-ZG0Cn-BfvfxqNxlzA23XpYDGEnsszoL-mn_bJhTVpjqZ4OtWc_yqASHF9QcEXV3IxPd14SpQUwJRZkO_MnCKs9lA3CTXgEPqT6-8-QL4/s320/Chai%25CC%2582ne+Arpenteur+-+copie.jpg" width="320" /></a><br />
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<span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR">Ci</span></span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR">-dessus, à gauche, une <i><b>Boussole d’arpenteur</b></i></span></span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR">, début des années 1800.</span></span><br />
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<span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR">À droite, une <i><b>Chaîne d’arpentage</b></i></span></span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR">, de la même époque. </span></span><br />
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<span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR">Ces deux items auraient été utilisés par l’Arpenteur général du Bas-Canada <i><b>Joseph Bouchette</b></i></span></span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><span lang="FR">, lors de son relevé de la frontière dans le secteur de Stanstead. </span></span><span class="Apple-style-span" style="font-family: 'Times New Roman';"> (Collection Musée Colby-Curtis)</span><br />
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</span></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-1686075485771726402011-06-23T12:02:00.002-04:002011-06-23T17:00:06.824-04:00Oral History Videos on Granite in Stanstead / Vidéos d'histoire orale sur le granit à Stanstead<span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">Featuring the history of the granite industry of Graniteville and Beebe, in Stanstead, Quebec, Canada. Produced by the </span><b><i><span class="Apple-style-span" style="color: white;">Quebec Anglophone Heritage Network</span></i></b><span class="Apple-style-span" style="color: white;"> (QAHN), from the oral history archives of the </span><b><i><span class="Apple-style-span" style="color: white;">Stanstead Historical Society</span></i></b><span class="Apple-style-span" style="color: white;">. Directed by </span><b><span class="Apple-style-span" style="color: white;">Matthew Farfan</span></b><span class="Apple-style-span" style="color: white;">.</span></span></span><br />
<span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;"><br />
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<span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: white;">À propos de l'histoire de l'industrie du granit à Stanstead ( Graniteville et Beebe, Québec, Canada). Produits par </span><b><span class="Apple-style-span" style="color: white;">QAHN</span></b><span class="Apple-style-span" style="color: white;"> (</span><i><span class="Apple-style-span" style="color: white;">Quebec Anglophone Heritage Network</span></i><span class="Apple-style-span" style="color: white;">), à partir des archives d'histoire orale de la </span><b><i><span class="Apple-style-span" style="color: white;">Société historique de Stanstead</span></i></b><span class="Apple-style-span" style="color: white;">. Réalisés par </span><b><span class="Apple-style-span" style="color: white;">Matthew Farfan</span></b><span class="Apple-style-span" style="color: white;">. (EN ANGLAIS SEULEMENT)</span></span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: 13px; line-height: 18px;"></span><span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: 12px;"></span></div><h1 id="watch-headline-title" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; height: 1.1363em; line-height: 1.1363em; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; max-height: 1.1363em; overflow-x: hidden; overflow-y: hidden; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left;"><span class="Apple-style-span" style="color: cyan;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: black; font-family: arial, sans-serif; font-size: 12px; font-weight: normal; line-height: normal;"><h1 id="watch-headline-title" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; height: 1.1363em; line-height: 1.1363em; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; max-height: 1.1363em; overflow-x: hidden; overflow-y: hidden; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="long-title" dir="ltr" id="eow-title" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; letter-spacing: -0.5px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title=""A Touch That's Being Lost": Early Days in Graniteville and Beebe, with Clifford Rediker"><span class="Apple-style-span" style="color: cyan;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">"A Touch That's Being Lost": Early Days in Graniteville and Beebe, with Clifford Rediker</span></span></span></span></h1></span></span></span></h1><br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/AQuCy1oi430?feature=player_embedded' frameborder='0'></iframe></div><br />
<span class="Apple-style-span" style="color: #eeeeee;">http://youtu.be/AQuCy1oi430</span><br />
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<h1 id="watch-headline-title" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; height: 1.1363em; line-height: 1.1363em; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; max-height: 1.1363em; overflow-x: hidden; overflow-y: hidden; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="long-title" dir="ltr" id="eow-title" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; letter-spacing: -0.5px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title=""In the Days of Craftsmen": Reminiscences with Charles Bullock, Graniteville, Quebec"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: cyan;">In the Days of Craftsmen": Reminiscences with Charles Bullock, </span></span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: cyan;">Graniteville, Quebec</span></span></h1><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://1.gvt0.com/vi/ltJyo_xa8qE/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/ltJyo_xa8qE&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/ltJyo_xa8qE&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: #eeeeee;">http://youtu.be/ltJyo_xa8qE</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><br />
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: 12px;"><h1 id="watch-headline-title" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; height: 1.1363em; line-height: 1.1363em; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; max-height: 1.1363em; overflow-x: hidden; overflow-y: hidden; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="long-title" dir="ltr" id="eow-title" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; letter-spacing: -0.5px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title=""I Was Only a Lad Then": Granite Reminiscences with Clifford Rediker, Graniteville, Quebec"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: cyan;">I Was Only a Lad Then": Granite Reminiscences with Clifford Rediker, Graniteville, Quebec</span></span></span></span></h1></span></span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/uA2eHItCxqY?feature=player_embedded' frameborder='0'></iframe></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="color: #eeeeee;">http://youtu.be/uA2eHItCxqY</span></span></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-38427400004765515062011-06-22T22:50:00.001-04:002011-06-22T22:51:41.720-04:00Photo-vidéo créatif sur le Musée Colby-Curtis<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: #f3f3f3;">Voici un regard inattendu et inusité sur le Musée Colby-Curtis, photographié et réalisé par le photographe </span></span><i><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: #f3f3f3;">Jean-François Dupuis</span></span></i><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: #f3f3f3;">, de Sherbrooke. Plutôt romantique, quoique un peu surréaliste.</span></span></b></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: #f3f3f3;"><br />
</span></span></b></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: #f3f3f3;">Here is a unexpected and unusual look into the Colby-Curtis Museum, as photographed and put into music by </span></span><i><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: #f3f3f3;">Jean-François Dupuis</span></span></i><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: #f3f3f3;">, a photographer from Sherbrooke. Quite romantic, although a bit surrealistic.</span></span></b></div><br />
<div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/x6_NyxdNOXo/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/x6_NyxdNOXo&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/x6_NyxdNOXo&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-70266709850337607352011-01-28T17:09:00.002-05:002011-02-06T10:19:18.748-05:0019th Century Libraries in Stanstead Part 3 : Silas Dickerson’s Stanstead Circulating Library<div class="MsoNormal"><span lang="FR">Silas Horton Dickerson (1799-1857) established himself as a printer in Stanstead in 1823. As such, he was the <b>first printer in the Eastern Townships</b></span><span lang="FR">, and issued from 1823 to 1834 the very first newspaper in the area : the<i> British Colonist and St. Francis Gazette </i></span><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="FR">[1]</span></span></a><span lang="FR">. He also printed a few books <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference">[2]</span></a> ; and, as was common practice among printers of the time, he also doubled as a <b>bookseller</b></span><span lang="FR"> at his shop in Stanstead Plain. The <i>British Colonist</i></span><span lang="FR"> published advertisements for both his own publications, and for books issued by other publishers. Silas H. Dickerson experienced more than his share of financial and judicial problems during his career as printer and publisher, which brought him to close down his business by 1834 <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference">[3]</span></a>.</span></div><div class="MsoNormal"><span lang="FR"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwfzOrgZAjAEQrG1hGDJg46Q4bnKgaxkNeRW2qP1VXvbldd4nUXXHtDpMZLmIPPQZcUkb8FxNz3KvSJUa0muMn1Pgjlm3PNWVtxXQVBvBx00JrWFUb1FWglX7W6swhQ3xibbOxQx9fmhs/s1600/S.+Dickerson+%2526+M.+Price+-+copie.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwfzOrgZAjAEQrG1hGDJg46Q4bnKgaxkNeRW2qP1VXvbldd4nUXXHtDpMZLmIPPQZcUkb8FxNz3KvSJUa0muMn1Pgjlm3PNWVtxXQVBvBx00JrWFUb1FWglX7W6swhQ3xibbOxQx9fmhs/s400/S.+Dickerson+%2526+M.+Price+-+copie.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Silas Horton Dickerson and his wife, Mary Price.</b><br />
Ambrotype, circa 1855 (Courtesy Mrs. Lisa Morrison, Ottawa)</td></tr>
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<div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe97ZBnjl9-iDg9iL6_EFVbxLu3eRlaM_bsw_6JB__13uObR5mfms7DBTvgwtnlIemm4Zjtw-vQgUdAie3APhK-X0d0GuZ1iJHwYPopUS7mOygG45bYyv1viE5PdvmPaDafJqfg9fwm6k/s1600/Cary+Circulating+Library%252C+Qc+-0440+-+copie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe97ZBnjl9-iDg9iL6_EFVbxLu3eRlaM_bsw_6JB__13uObR5mfms7DBTvgwtnlIemm4Zjtw-vQgUdAie3APhK-X0d0GuZ1iJHwYPopUS7mOygG45bYyv1viE5PdvmPaDafJqfg9fwm6k/s320/Cary+Circulating+Library%252C+Qc+-0440+-+copie.jpg" width="320" /></a><span lang="FR"></span></div><div class="MsoNormal"><span lang="FR">Another widespread activity for printers and booksellers of the period, was to set up "<b>circulating libraries</b></span><span lang="FR">", where patrons of the shop could rent books for a small fee, or for varied term subscriptions (yearly, quarterly, monthly). This type of library, contrary to the so-called "social" libraries, was privately owned by a single proprietor, and was primarily a commercial activity. At the turn of the 19th century, there were libraries of this sort in Montreal and Quebec City – where, for instance, printer and bookseller <i>Thomas Cary</i></span><span lang="FR"> operated a circulating library from his premises on St. Louis street. </span></div><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkup9DA2sTDyEndkMB7Ln4pSjZzjz6AfHSWo-K-AoFmW6EKi3x7CnzygYYWoYKXHomndYowZYZJF-lXWvw5LriuicyXYY5QIs54oPf_IoZcx_1bfEmw11Amfv7VPcczjs1X-YXFHA3NiY/s1600/Biblio+circulante+Ford%252C+Qc+-+copie.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkup9DA2sTDyEndkMB7Ln4pSjZzjz6AfHSWo-K-AoFmW6EKi3x7CnzygYYWoYKXHomndYowZYZJF-lXWvw5LriuicyXYY5QIs54oPf_IoZcx_1bfEmw11Amfv7VPcczjs1X-YXFHA3NiY/s320/Biblio+circulante+Ford%252C+Qc+-+copie.jpg" width="320" /></a></div><div class="MsoNormal">A true pioneer of the Canadian book trade – as the first printer, publisher and bookseller to set up outside of the larger cities of Canada East (as the province of Québec was called at the time) –, Dickerson also appears to be the first to operate such a library in a rural area.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">The advent of circulating libraries was still a novelty in Dickerson’s era. The earliest known circulating library in America was initiated by <i>William Rind</i></span><span lang="FR"> in Annapolis (Maryland) in 1762, but was short lived. However, by the early 19th century, circulating libraries had become a trend of sorts, as more and more book and print shops were caught up in the movement. Multiple copies of selected books were kept in stock for renting out to customers. Over time, <i>"circulating libraries were often criticized for the shallowness and moral laxity of their book stock and customers, and it is clear that they often catered to the frivolous and the less educated. Some books, it was alleged, were ‘written solely for the use of the circulating library, and very proper to debauch all young women who are still un-debauched’</i>.<a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference">[4]</span></a> "</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVrGBjFt1ELIaJSKmh0uXR4MPvkPBt2Wen2A81A4qP7_HxchTL8yLmgI67HwC8gwqtHsgiY1_tCD_u1cEaafRcRmyNa68iPdwSFoDc-jbmyhOAEf5G_va5nIDrMJxJrOThh6uPH_ZYWs4/s1600/Dickerson+Circ.+Library+1830+-1+-+copie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVrGBjFt1ELIaJSKmh0uXR4MPvkPBt2Wen2A81A4qP7_HxchTL8yLmgI67HwC8gwqtHsgiY1_tCD_u1cEaafRcRmyNa68iPdwSFoDc-jbmyhOAEf5G_va5nIDrMJxJrOThh6uPH_ZYWs4/s400/Dickerson+Circ.+Library+1830+-1+-+copie.jpg" width="250" /></a><span lang="FR">This was obviously not the case for Silas Dickerson’s stock of books, as all the offerings of the <b><i>Stanstead Circulating Library</i></b></span><span lang="FR"> were predominantly of a religious character – and certainly not the usual fare of popular novels and adventure stories that were found in many circulating libraries in 19th century American cities <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference">[5]</span></a>. In a small brochure printed in <b>1830</b></span><span lang="FR"> by S. H. Dickerson, <i>"The Rules and Catalogue of the Stanstead Circulating Library, instituted in 1830" </i></span><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span lang="FR">[6]</span></span></a><span lang="FR">, some 158 books available at the library are listed, along with detailed indications on its rules and modes of operation (see illustrations). This private library most likely acted as open competition to the social libraries, and possibly added to the difficulty they faced in securing a steady flow of active users – slowly contributing to their demise. Yet Dickerson’s stock cannot be viewed as undermining the social libraries’ inventories, seeing that these mainly held books of quite another, non-religious, nature. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">The religious bent of Dickerson’s circulating library comes as no surprise, since much of the content of his paper, the <i>British Colonist</i></span><span lang="FR">, was initially oriented towards religious subjects. Having been apprenticed for six years to a Kingston printer, Stephen Miles <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn7" name="_ednref7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference">[7]</span></a>, and later employed by Nahum Mower in Montreal – both of them known for their religious proselytism –, Dickerson was certainly influenced in his devotions by his former masters, and it is not unlikely that he settled in Stanstead in 1823 because of the strong presence of the Methodist church in the area. It is also known that Silas Dickerson was one of the "proprietors" of the <i>Stanstead Wesleyan Seminary</i></span><span lang="FR"> in the early 1840’s <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn8" name="_ednref8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference">[8]</span></a>, along with the most influencial Stanstead citizens of the time. </span></div><div class="MsoNormal"><br />
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<tr><td class="tr-caption" style="text-align: center;"><b><br />
Pages from </b><i><span class="Apple-style-span" style="font-size: x-small;"><b>The Rules and Catalogue of the Stanstead Circulating Library</b><span class="Apple-style-span" style="font-style: normal;"><b>, 1830.<br />
</b>Collection Haskell Free Public Library, Rock Island, Qeébec, & Derby Line, Vermont.</span></span></i></td></tr>
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<span lang="FR">Though the <i>Stanstead Circulating Library</i></span><span lang="FR"> catalogue speaks for itself as to its religious emphasis, Silas Horton Dickerson’s "credo" towards books and reading is of a more secular nature:</span></div><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="MsoNormal"><span lang="FR"><i>As reading is a source of the highest personal improvement, and the most exquisite pleasure, accessible to men of every rank ; those who neglect books inadvertently injure themselves ; for a life destitute of knowledge is worse than death.</i></span><span lang="FR"> <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn9" name="_ednref9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference">[9]</span></a></span></div><div style="mso-element: endnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="edn1" style="mso-element: endnote;"><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt; text-autospace: none;"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="FR">[1]</span></span></a><span lang="FR"> See Jean-Pierre Kesteman, "Les premiers journaux du district de Saint-François (1823-1845)", </span><span lang="FR">in <i>Revue d'histoire de l'Amérique française</i></span><span lang="FR" style="color: black;">, <span class="Apple-style-span" style="color: white;">vol. 31, n° 2, 1977, p. 240-233 ; available on Internet at </span><a href="http://www.erudit.org/revue/haf/1977/v31/n2/303610ar.pdf">http://www.erudit.org/revue/haf/1977/v31/n2/303610ar.pdf</a></span></div></div><div id="edn2" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span lang="FR">[2]</span></span></a><span lang="FR"> Books printed by Dickerson include Elmer Cushing’s "An Appeal…", issued in 1826. See Pierre Rastoul, "Early Book Trades in Stanstead, circa 1820-1850", in <i>Stanstead Historical Society Journal</i></span><span lang="FR">, vol. 23, 2009 ; pp. 93-120<o:p></o:p></span></div></div><div id="edn3" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span lang="FR">[3]</span></span></a><span lang="FR"> However, he remained active in Stanstead afterwards, namely as an organizer for the Reformist party, supporting the election of their candidates John Grannis and Marcus Child in 1836. During the Patriot Rebellion (1837-1838), he was forced into exile to the U.S., but returned shortly after to Stanstead, where he held positions as public officer – namely as Customs Agent for the "port" of Stanstead (1853 on), and later, in 1857, as the first Mayor of Stanstead Plain. Dickerson passed away three months later, and is buried in the Cristal Lake cemetery in Stanstead. A biography of Silas H. Dickerson, by Jean-Pierre Kesteman, in the <i>Dictionary of Canadian Biography</i></span><span lang="FR">, vol. VIII (1851-1860), available online at <a href="http://www.biographi.ca/">http://www.biographi.ca</a><o:p></o:p></span></div></div><div id="edn4" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span lang="FR">[4]</span></span></a><span lang="FR"> Richard Wendorf, as quoted by Rick Ring in "Notes for Bibliophiles", the Providence Public Library Special Collections blog, November 4, 2008 ; at <a href="http://pplspeccoll.blogspot.com/2008/11/ealy-providence-circulating-libraries.html">http://pplspeccoll.blogspot.com/2008/11/ealy-providence-circulating-libraries.html</a><o:p></o:p></span></div></div><div id="edn5" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span lang="FR">[5]</span></span></a><span lang="FR"> See David Kaser, <i>A Book for a Sixpence. The Circulating Library in America </i></span><span lang="FR">; Pittsburgh, Beta Phi Mu, 1980.</span></div></div><div id="edn6" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span lang="FR">[6]</span></span></a><span lang="FR"> The only known copy of this brochure is preserved at the Haskell Free Public Library.</span></div></div><div id="edn7" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref7" name="_edn7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span lang="FR">[7]</span></span></a><span lang="FR"> Stephen Miles eventually sold his print shop in Kingston to become a Methodist pastor, in 1819, at which time Dickerson moved to Montreal to work with Nahum Mower. On Stephen Miles, see Aegidius Fauteux, <i>The Introduction of Printing in Canada</i></span><span lang="FR">, Montréal : Rolland Paper Company, 1930; p. 137.</span></div></div><div id="edn8" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref8" name="_edn8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span lang="FR">[8]</span></span></a><span lang="FR"> <i>A Catalogue of the Officers and Students of Stanstead Seminary in Canada East, for the years 1841 & 1842</i></span><span lang="FR">, Sherbrooke, Printed by J. S. Walton, 1842. (Courtesy of James Farfan, Ogden)</span></div></div><div id="edn9" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref9" name="_edn9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference"><span lang="FR">[9]</span></span></a><span lang="FR"> <i>The Rules and Catalogue of the Stanstead Circulating Library</i></span><span lang="FR">…, Stanstead, Printed by S. H. Dickerson, 1830 ; cover page.</span></div></div></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com1tag:blogger.com,1999:blog-57693342798431772.post-90999801945755206222011-01-25T16:02:00.001-05:002011-01-25T16:10:42.854-05:0019th Century Libraries in Stanstead Part 2 : The Stanstead South-West Quarter Social Library (1823-1846)<div class="MsoNormal"><span lang="FR">We don’t have a clue as to what kinds of books the <i>Stanstead and Barnston Union Library</i></span><span lang="FR"> held, within the 90 volumes or so that were sold off at an auction in 1827. Our knowledge of this first library holds entirely in the few notices that were published in the <i>British Colonist</i></span><span lang="FR">, between 1823 (when the <i>Colonist</i></span><span lang="FR"> started publishing) and 1827, when the library folded up -- see our blog for Jan. 19, 2011. The situation is quite different for the second local library, the <b><i>Stanstead South-West Quarter Social Library </i></b></span><span lang="FR">: there is no mention of this library in the period’s newspapers, except for one in the very last days of its existence (1846). But, fortunately, part of the stock of books of the <i>S.W. Quarter Library</i></span><span lang="FR"> has been preserved, and now lies in the collections of the Stanstead Historical Society. </span></div><div class="MsoNormal"><br />
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</span></div><div class="MsoNormal">These books, totalling some 35 titles, hold a wealth of information on the library, as each one has retained its original sequential numbering, as well as a handwritten ex-libris page on the front endpapers of all the books (see illustrations). From the numbers, we learn that the library’s holdings were of over 118 titles – many of which have however been lost over time. There may well have been more. </div><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="MsoNormal"><span lang="FR">Indeed, after a long jump in numbers, books numbered from 306 onwards (to # 370 or more), are identified to the <i>Stanstead Social Library</i></span><span lang="FR"> – some with a printed label --, which we think might be a continuation of the S.W. Quarter Library, as the few books preserved from the S. S. L. bear publication dates that link to the last dates for those of the S.W. Quarter’s. If so, the <i>S.W. Quarter Library </i></span><span lang="FR">would connect to at least one other library of the area (Stanstead Social) – yet not to the <i>Stanstead and Barnston Union Library</i></span><span lang="FR">, which was still in place for some years after the <i>S. W. Quarter Social Library</i></span><span lang="FR"> was initiated.</span></div><div class="MsoNormal"><br />
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</span></div><div class="MsoNormal"><span lang="FR">This is another information we hold from the handwritten inscriptions on the endpages of the preserved books, confirming without doubt that the <i>S.W. Quarter Library</i></span><span lang="FR"> was set up in the Spring of 1823. As a matter of fact, the library ex-libris state the date each book was bought, the price paid, and the place it was purchased : we thus know that the library’s first purchases of books (matching the sequence of numbers from 1 to 18) were made in March 1823 in Windsor and Coventry, Vermont, and that later books (# 21-34) were bought in Stanstead from local merchants, in January and July 1824. Later purchases go up to 1839, some from Stanstead and Boston, but most from unspecified locations. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">The ex-libris pages also bear the fixed meeting dates and time (annual and quarterly meetings), with a mention of fines incurred for late returns : "Fine of 12 ½ cents if not returned at the stated meetings", later expanded "with an additional cent for each exceeding day till returned". Meetings were held in March, June, September and December. It so appears that books were lent for months at a time, to be returned at the quarterly meetings, which was quite an unusual system. Some books also state a "Fine for lending Linrary book, 25 cents", or "Penalty for lending to non proprietors, 25 cents" – pointing to the fact that the library was only accessible to shareholders, i.e. "proprietors".<o:p></o:p></span></div><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYrkVdmh9YersYaZ118HV8xCF6Fj4b20ncgb0QjnPXuGQiaA80dUIdA8cLpquym9VRakOu3_IZKLDRCHz02Zd_Yw7Q0PZg7CkWYNTTU-GzKhR32G71dhumnd_AIItoQ1FCMcJA-UjVBY/s1600/SWQS+Library+11+Coventry+1823+%253F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYrkVdmh9YersYaZ118HV8xCF6Fj4b20ncgb0QjnPXuGQiaA80dUIdA8cLpquym9VRakOu3_IZKLDRCHz02Zd_Yw7Q0PZg7CkWYNTTU-GzKhR32G71dhumnd_AIItoQ1FCMcJA-UjVBY/s400/SWQS+Library+11+Coventry+1823+%253F.jpg" width="231" /></a></div><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="MsoNormal"><span lang="FR">What members read can also be made out. Surprisingly, the most popular categories were documentaries : History, Travels, Manners & Customs, Biographies, personal Memoirs and Natural History. There were very few Novels (Cooper’s ‘The Pioneers’) or Poetry (Walter Scott), and even fewer Religious or Moral subjects. While fiction literature was often considered more or less "frivolous", many Social libraries, as a rule, excluded religious works, knowing that a choice of such books might cause dissent between members of different local congregations, and that churches, <i>Sunday School</i></span><span lang="FR"> libraries and <i>Bible Societies</i></span><span lang="FR"> would serve the community very well for such reading material. All the books we examined from the Stanstead South-West Quarter Social Library were titles issued by New England publishers (Vermont, New-Hampshire, Boston, etc.), but none from England or Canada – this was likely due to existing commercial networks from the U.S. at the time, and the difficulty of supplying Stanstead from Montreal, Quebec City or other places in British North America, in the absence of practical roads and railways.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7K5O-P43xRbmSzcWWuYhUU2NBKGgFaQn4TI8tmHQffXdTzPhFJDOE0LTaZbvIq0Sm436UMc-K75mSIKxWVf8hhtric6Av3AEZo-v61ulIx4F20CQnpJPRDHajLTLZjkUnyqqeQcCBGVQ/s1600/SWQS+Library+27+Stanstead+1824.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7K5O-P43xRbmSzcWWuYhUU2NBKGgFaQn4TI8tmHQffXdTzPhFJDOE0LTaZbvIq0Sm436UMc-K75mSIKxWVf8hhtric6Av3AEZo-v61ulIx4F20CQnpJPRDHajLTLZjkUnyqqeQcCBGVQ/s400/SWQS+Library+27+Stanstead+1824.jpg" width="228" /></a><span lang="FR"></span></div><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="MsoNormal"><span lang="FR">The <i>Stanstead South-West Quarter Social Library</i></span><span lang="FR"> was brought to an end, without any prior public notice, in June of 1846, when the library’s holdings were dispersed at auction :</span></div><br />
<div class="MsoNormal"><span lang="FR"> </span><span lang="FR"><b><i>Books at auction </i></b></span><span lang="FR"><i>: a valuable collection of books, belonging to the Social Library in the south-west part of Stanstead, will be sold at Public Auction at the Marlow School House, on Saturday June 20th, at 1 o’clock, P. M. – Many of said books are standard works, and they will be sold singly or in lots to suit purchasers. By order of the committee.</i></span></div><div class="MsoNormal"><span lang="FR"><i></i></span>[Signed :] <i>Joseph Ward / Griffin Corner, June 6th, 1846 <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference">[1]</span></a></i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">This, and a few other clues, give a clear indication as to where the so-called <b><i>South-West Quarter</i></b></span><span lang="FR"> was located. <i>Griffin Corner</i></span><span lang="FR">, as well as <i>Marlow Corners</i></span><span lang="FR"> (the Marlow School), were hamlets north of Beebe Plain, close to Lake Memphremagog : very close to each other, these locations are now part of the Town of Ogden. The Marlow "settlement" as it was initially called, was later renamed <i>Marlington</i></span><span lang="FR">. Not too surprisingly, some (if not all ?) of the books from Stanstead S.-W. Quarter Library were donated to the Stanstead Historical Society by the Hawes family, stating that they were <i>"Books from the old Marlington Library</i></span><span lang="FR">" ;<i> </i></span><span lang="FR">it all likeliness, the books from this Marlington Library were bought as a lot at the Marlow School auction in 1846.</span></div><div class="MsoNormal"><br />
</div><div style="mso-element: endnote-list;"><hr align="left" size="1" width="33%" /><div id="edn1" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="FR">[1]</span></span></a><span lang="FR"> <i>The Stanstead Journal</i></span><span lang="FR">, June 11, 1846 ; reprinted June 18, 1846.</span></div></div></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-62633792890841237232011-01-20T17:20:00.000-05:002011-01-20T17:23:39.251-05:00Nouveaux liens / New LinksVeuillez noter que de nouveaux liens ont été ajoutés sur notre blogue (voir colonne de droite). Il s'agit d'articles parus dans le magazine <b><i>Histoire Québec</i></b>, et qui portent sur des sujets intéressant Stanstead et les Cantons-de-l'Est, tels que reproduits sur le site Internet académique <b><i>Érudit</i></b>. Voir la liste ci-dessous.<br />
<br />
Please note that new links have been added on this blog (see column at right). These are articles from the magazine <b><i>Histoire Québec</i></b>, pertaining to Stanstead and the Eastern Townships, as reproduced on the academic website <b><i>Érudit</i></b>. See the listing below.<br />
<br />
<div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: yellow;">"The impact of railways on Stanstead: 1850 to 1950"</span><o:p></o:p></span></div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: white;">J. Derek Booth </span></span><span lang="FR" style="font-family: Helvetica; font-size: 10pt;"><span class="Apple-style-span" style="color: white;">Histoire Québec, vol. 14, n° 3, 2009, p. 10-18.</span><o:p></o:p></span></div><div class="MsoNormal"><a href="http://www.erudit.org/culture/hq1056841/hq1060202/11391ac.pdf">http://www.erudit.org/culture/hq1056841/hq1060202/11391ac.pdf</a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: yellow;">« Les répercussions des chemins de fer sur la région de Stanstead, de 1850 à 1950 »</span><o:p></o:p></span></div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: white;">Monique Nadeau-Saumier </span></span><span lang="FR" style="font-family: Helvetica; font-size: 10pt;"><span class="Apple-style-span" style="color: white;">Histoire Québec, vol. 14, n° 3, 2009, p. 9.</span><o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 13px;"><a href="http://www.erudit.org/culture/hq1056841/hq1060202/11390ac.pdf">http://www.erudit.org/culture/hq1056841/hq1060202/11390ac.pdf</a></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: yellow;">"The majestic Abbey of Saint-Benoît-du-Lac"</span><o:p></o:p></span></div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: white;">Maurice Langlois </span></span><span lang="FR" style="font-family: Helvetica; font-size: 10pt;"><span class="Apple-style-span" style="color: white;">Histoire Québec, vol. 13, n° 3, 2008, p. 33-37.</span><o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 13px;"><a href="http://www.erudit.org/culture/hq1056841/hq1059305/11286ac.pdf">http://www.erudit.org/culture/hq1056841/hq1059305/11286ac.pdf</a></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: yellow;">« L’Abbaye de Saint-Benoît-du-Lac »</span><o:p></o:p></span></div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: white;">Maurice Langlois </span></span><span lang="FR" style="font-family: Helvetica; font-size: 10pt;"><span class="Apple-style-span" style="color: white;">Histoire Québec, vol. 13, n° 3, 2008, p. 27-32.</span><o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 13px;"><a href="http://www.erudit.org/culture/hq1056841/hq1059305/11285ac.pdf">http://www.erudit.org/culture/hq1056841/hq1059305/11285ac.pdf</a></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: yellow;">« Caractéristiques historiques et culturelles des Cantons-de-l’Est »</span><o:p></o:p></span></div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: white;">Monique Nadeau-Saumier </span></span><span lang="FR" style="font-family: Helvetica; font-size: 10pt;"><span class="Apple-style-span" style="color: white;">Histoire Québec, vol. 14, n° 2, 2008, p. 43-45.</span><o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 13px;"><a href="http://www.erudit.org/culture/hq1056841/hq1059842/11379ac.pdf">http://www.erudit.org/culture/hq1056841/hq1059842/11379ac.pdf</a></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: yellow;">"The Impact of Immigration on Art, History and Architecture"</span><o:p></o:p></span></div><div class="MsoNormal"><span lang="FR" style="font-family: Helvetica;"><span class="Apple-style-span" style="color: white;">Monique Nadeau-Saumier </span></span><span lang="FR" style="font-family: Helvetica; font-size: 10pt;"><span class="Apple-style-span" style="color: white;">Histoire Québec, vol. 14, n° 2, 2008, p. 34-42.</span><o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 13px;"><a href="http://www.erudit.org/culture/hq1056841/hq1059842/11378ac.pdf">http://www.erudit.org/culture/hq1056841/hq1059842/11378ac.pdf</a></span><br />
<br />
</div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-2970091095430451782011-01-19T21:36:00.001-05:002011-02-12T17:35:26.584-05:0019th Century Libraries in Stanstead Part 1 : Stanstead and Barnston Union Library<div class="MsoNormal"><span lang="FR">Reading books, in a pioneer’s world, does not appear at first glance as an absolute priority. However, there actually was an eager appetite for reading material among the settlers’ population of Stanstead county, as the history of local libraries tends to confirm. Schools had been set up, different religious congregations were convening all over the county, and individual settler families had brought books along with plows and axes : many thought that reading, and literacy in general, was a very desirable necessity. As Benjamin Franklin Hubbard put it in his 1874 book, <i>Forest and Clearings</i></span><span lang="FR"> : "<i>Reading in those days was, like study, conducted under difficulties, but it was thorough. Books were read and re-read with attention and profit." </i></span><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="FR">[1]</span></span></a><span lang="FR"><i><o:p></o:p></i></span></div><div class="MsoNormal" style="text-indent: 35.4pt;"><br />
</div><div class="MsoNormal"><span lang="FR">So it was that, along with schoolbooks made available by local traders, <b>"social"</b></span><span lang="FR"> <b>libraries</b></span><span lang="FR"> sprung up in places from a very early time, all through the 19th century. In this blog series, several of these libraries will be reviewed, starting in the early 1820’s with the <i><b>Stanstead and Barnston Union Library</b></i></span><span lang="FR"> (ca 1820-1827). Here’s Hubbard again :</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin-left: .5in;"><span lang="FR"><i>Social libraries were started in some of the towns, and were a great benefit. Some of the families of the early settlers had been favored with the advantages of a good English education, and these, in general, furnished teachers for the pioneer schools. Some of these families had brought in a few books, and these were read and re-read throughout the different neighbourhoods. For many years, the Bible, Bunyan’s Pilgrim (etc. …) or Wesley’s Hymns, formed the the entire library of many of the most wealthy families. The old-fashioned toy books, with coarse wood cuts, such as the New England Primer, Jack the Giant Killer (etc. …), were sought for and prized by children and youth of that age… </i></span><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span lang="FR">[2]</span></span></a><span lang="FR"><i><o:p></o:p></i></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">The notion of a "social" library started off in the first half of the 18th century, when <b>Benjamin Franklin</b> – who held a sizeable personal library of some 4,000 books – started sharing his books with the literate members of his community. Set up as a "subscription" library in 1831, Franklin’s library was incorporated as the <i>Library Company of Philadelphia</i> in 1742. The Library Company, as were later social libraries, based its membership on shareholders, who would contribute money towards the privilege of sharing a collection of books, as well as for the purchase of new holdings. Though all members of this type of social library were required to begin by buying shares, annual fees (and late fees…) were usually charged to members – yet there were quite a number of variants as to what was meant as "social". Indeed, while some libraries focused on making books affordable, others like the "Athenaeum" category were restricted to upper-class readers through prohibitive shares and fees <a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference">[3]</span></a>.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">The first mention of the <i>Stanstead and Barnston Union Library</i></span><span lang="FR"> appears as a notice in the <i>British Colonist</i> on December 4th, 1823 : "The Proprietors of the Stanstead and Barnston Union Library, are notified that the next annual meeting will take place at the School House on the Plain, on Saturday the 27th inst. A general attendance is requested. (A. Hibbard, <i>Chairman of Committee</i></span><span lang="FR">)". It is not known when this library was created, but it is likely to have been in place for some years when this notice was published. In the early days of 1824, Librarian S. Brook Jr. calls to "All persons having books belonging to the [Stanstead and Barnston Union] Library, (…) to return them to the Subscriber without delay. Pr order of the Committee" (<i>British Colonist</i></span><span lang="FR">, January 8, 1824).<o:p></o:p></span></div><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="MsoNormal"><span lang="FR">However, the S & B Union Library appears to be in trouble at the time, since several later notices will lead to the eventual dissolution of the membership. On December 22nd 1825, notice is given that "The Annual Meeting of the proprietors of the Stanstead and Barnston Union Library, will be held at the house of Mr. Amos Ainsden, on Saturday the 31st of Dec. Inst. At 3 o’clock P.M.. The situation of the Library is suche, that it appears indispensable, that the Books are all returned, and a general attendance of the Proprietors is sollicited by the Pro’rs Committee" (<i>British Colonist</i></span><span lang="FR">, December 22, 1825).<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">Almost a year later, shareholders are again called to attend : « The Stanstead and Barnston Union Library, having for sometime, lain dormant, it is requested that a meeting of the Proprietors be held at the house of Mr. P. Hubbard, on Monday the 14th day of December instant, at 2 o’clock P. M. to adopt such measures as may then and there be thought proper. By order of the committee." (<i>British Colonist</i></span><span lang="FR">, December 7, 1826). Soon after, a new notice : "The Proprietors of Stanstead and Barnston Union Library, are hereby notified that their annual meeting will be held on the last Saturday of this month, at the house of Mr. P. V. Hubbard, at one o’clock P. M., at which it is proposed to dissolve the union, and adopt measures to dispose of the books, and it is further ordered that all who do not attend, may consider their shares forfeited. By order of the Committee." (<i>British Colonist</i></span><span lang="FR">, December 21, 1826).<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">Clearly, the Library has become more or less inactive, with shareholders neglecting meetings and most likely, shunning the books available. We actually learn, from a last notice in the <i>British Colonist</i></span><span lang="FR"> (February 1, 1827), that the S & B Union Library held a total of about 90 books, that the library patrons had probably finished reading by then : "On Monday, the 12th of February next, will be sold at Auction, at the house of Mr. P. V. Hubbard, at 3 o’clock P. M., the whole of the Books, belonging to Stanstead and Barnston Union Library, containing about ninety volumes, the proprietors are hereby notified to attend. By order of the Proprietors. Phineas Hubbard, clerk."<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">The demise of this first social library in Stanstead would not leave the settlers without books. Other libraries had been developed, such as the Hatley (Charleston) Library – active in 1824 --, but also Sunday School libraries in various churches and Bible Society libraries (including a "Stanstead and Barnston Branch"). Books were prized possessions, and the staple of schools, libraries and churches. Demand was such in the first half of the 19th century, that a printer like Silas Horton Dickerson (publisher of the <i>British Colonist</i></span><span lang="FR">) offered books for sale at his shop as early as 1823 ; and most general merchants of the era, such as James Baxter, John Gillman, Spalding & Foster, Phineas Hubbard, Albert Knight and many others, would compete to offer a ready supply of schoolbooks, as well as Bibles, hymnals and the like — but also a sampling of travel literature, history and classics —, to a steadily growing clientele. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">Before the S & B Union Library folded up, other local libraries were initiated. Among these, the <i>Stanstead South-West Quarter Social Library</i></span><span lang="FR"> was set up around Griffin Corner, in the Spring of 1823 : the library would last until 1846. This will be the subject of a further posting on this blog. </span></div><div style="mso-element: endnote-list;"><br />
<hr align="left" size="1" width="33%" /><div id="edn1" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference">[1]</span></a> B. F. Hubbard, <i>Forest and Clearings</i><span style="font-style: normal;">, 1874, p. 9</span></div></div><div id="edn2" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference">[2]</span></a> B. F. Hubbard, ibid.</div></div><div id="edn3" style="mso-element: endnote;"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=57693342798431772#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference">[3]</span></a> See : "How did public libraries get started ?", a staff report from the <i>Straight Dope Science Advisory Board</i><span style="font-style: normal;">, January 17, 2006; available on the Internet at the following address : <a href="http://www.straightdope.com/columns/read/2236/how-did-public-libraries-get-started">http://www.straightdope.com/columns/read/2236/how-did-public-libraries-get-started</a></span></div></div></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-52831548091771720232011-01-02T17:56:00.000-05:002011-01-19T14:54:58.321-05:00Une carte de 1823 redécouverte / Newly uncovered map by Lemira Strong<div class="MsoNormal"><i><span class="Apple-style-span" style="color: #6fa8dc;">(English follows)</span><o:p></o:p></i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Les cartes manuscrites sont des documents rares, dans la mesure où la grande majorité des cartes géographiques anciennes qu’on rencontre habituellement sont des documents imprimés, souvent réalisés à partir d’un original disparu. Quelle ne fut pas notre surprise, lorsque Geneviève Thibodeau, adjointe aux collections à notre musée, a découvert dans nos réserves une longue pochette de toile que personne auparavant n’avait encore remarquée – ni répertoriée dans l’inventaire de nos collections et archives. Le sac de toile contenait quatre cartes enroulées, dont trois étaient des exemplaires gravement endommagés de la célèbre carte imprimée de <i>Putnam & Grey</i><span style="font-style: normal;">, représentant les Cantons-de-l’Est en 1863. (Le mauvais état de ces trois cartes est malheureusement irrémédiable – cependant, nos archives en possèdent un autre exemplaire en bon état, exposé en permanence dans le local des Archives).</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Par contre, la quatrième carte, montrant l’est des États-Unis, l’ensemble des Grands Lacs et le sud du Québec, apporte une surprise de taille, sans compter que son état de conservation est assez sartisfaisant. Cette découverte est surprenante à plus d’un titre : d’une part, le document est une carte <i>manuscrite</i><span style="font-style: normal;"> – entièrement dessinée et colorée à la main; et, d’autre part, son auteur est <b>Lemira Strong</b></span>, celle-là même qui deviendra en 1826 l’épouse de <b><i>Moses French Colby</i></b><span style="font-style: normal; font-weight: normal;">, qui installa sa famille à Stanstead en 1832. Chose plus étonnante encore, la carte porte la date de </span><b>1823</b><span style="font-weight: normal;">, alors que la jeune Lemira n’avait encore que 17 ans. Or il s’agit d’une carte extrêmement détaillée, particulièrement bien exécutée à la plume à l’encre noire, avec des rehauts peints en bleu, vert et rouge.</span><br />
<span style="font-weight: normal;"><br />
</span></div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyzNPWX2HXeMsxeyQe5qaNbQBnwYT8738L4df2xuRn6K1vhQW2hxuEhG2u0dr3jUFVGd8G1hYYIJgyrjuE-UoetGBEg-6e_qjLCWBlKbvXM4unoIEVvEAC7LB5KgwQwaRjm_bqwRU4T6A/s1600/lemira+map+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyzNPWX2HXeMsxeyQe5qaNbQBnwYT8738L4df2xuRn6K1vhQW2hxuEhG2u0dr3jUFVGd8G1hYYIJgyrjuE-UoetGBEg-6e_qjLCWBlKbvXM4unoIEVvEAC7LB5KgwQwaRjm_bqwRU4T6A/s640/lemira+map+2.jpg" width="640" /></a></div><br />
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</div><div class="MsoNormal">Réalisée sur six feuilles de papier, contrecollées sur une pièce de toile qui s’enroule sur une baguette de bois, la carte présente des dimensions de 101 cm x 118,5 cm. Elle comporte en sa partie inférieure droite un large cartouche peint portant le titre « <b><i>A Map of the United States of America </i></b><span style="font-style: normal; font-weight: normal;">», avec la signature et la date : « </span><b><i>Lemira Strong 1823 </i></b><span style="font-style: normal; font-weight: normal;">». Il semble possible que les informations détaillées qui figurent sur cette carte reposent sur plusieurs sources cartographiques différentes, avec des indications de frontières marquées en rouge qui délimitent les états américains selon des tracés qui se sont transformés depuis. En outre, le tracé de la frontière entre le Québec et les états du Vermont et du New-Hampshire suit un parcours inusité, du fait que la frontière canado-américaine était encore contestée à l’époque, car ce n’est qu’en 1842 que le </span><i>Traité Ashburton</i><span style="font-style: normal;"> allait mettre fin au débat (en partie sur la base d’arpentages effectués par Joseph Bouchette en 1827). Lemira Strong inscrit du reste un commentaire le long du tracé frontalier, que nous n’avons pas encore réussi à déchiffrer étant donnée la finesse de l’inscription sous l’enduit foncé qui le recouvre.</span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ONDA6FM7Bonj1EtnG4fprIwerxpbHeWBXn-6heyMAv43sW5WdX_PXaE2VO1QBOktLLgFl1ITkwL6l6BH4784RSMeMwm11P3d_H8HBlGCQJ51GUDPNHm4fUsdlgrWngLDNdMrjWqhrdQ/s1600/De%25CC%2581tail+carte+1823+mid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ONDA6FM7Bonj1EtnG4fprIwerxpbHeWBXn-6heyMAv43sW5WdX_PXaE2VO1QBOktLLgFl1ITkwL6l6BH4784RSMeMwm11P3d_H8HBlGCQJ51GUDPNHm4fUsdlgrWngLDNdMrjWqhrdQ/s400/De%25CC%2581tail+carte+1823+mid.jpg" width="400" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Lemira Strong (Colby) naquit en 1806 à Pawlet au Vermont. Nous savons peu de choses sur elle avant 1826, l’année où elle épouse le docteur Moses French Colby qui habite alors à Derby Line. En 1827, elle donnera naissance à son fils ainé, <i>Charles Carroll Colby,</i><span style="font-style: normal;"> et plus tard à d’autres enfants. Ce n’est qu’en 1831 que Moses Colby établissait son cabinet de médecin à Stanstead Plain, suivi l’année suivante par Lemira et toute la famille. Il semble bien qu’en 1823, Lemira Strong était déjà </span><b><i>enseignante</i></b><span style="font-style: normal; font-weight: normal;">, malgré son jeune âge, car la carte manuscrite que nous avons retrouvée (apparemment inconnue de la famille elle-même jusqu’à présent) est précisément le genre de carte déroulante qu’on utilisait autrefois pour l’enseignement, affichée contre le mur ou suspendue devant le tableau noir. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">L’état de conservation de la carte de Lemira Strong, bien que très satisfaisant, imposera tout de même un travail de restauration important avant que d’être exposée au public. Quelques déchirures marginales, ainsi qu’un décollement et des plis dans les bords de certaines feuilles, devront être réparés professionnellement – sans compter une mise à plat de l’ensemble, au terme de plus de 185 ans à rester roulée sur elle-même ! La carte a également reçu un vernis protecteur (possiblement un « shellac ») qui a sévèrement bruni au fil des ans, et qui s’est craquelé et écaillé en maints endroits, laissant apparaître la surface blanche du papier, mais aussi... le tracé presque intact des indications à l’encre et des couleurs peintes. Il est ainsi possible que les experts en restauration de papiers puissent retirer le vernis brun sans endommager davantage le contenu de cette carte. Une histoire à suivre...</div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8O7wXX4z4BD1c8HhvyQiNZUYmJiWVHdvizkb5KdQFSPWQbtRM_DQUmVqyDwFqbyC8dwGKIULishbdOLwRuIrCx0H3NMhdjk6DoRs3LbT7ULI43ibTQe2_DWPpiPmNlQdL7G308Jepls/s1600/Lemira+Portrait+med.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8O7wXX4z4BD1c8HhvyQiNZUYmJiWVHdvizkb5KdQFSPWQbtRM_DQUmVqyDwFqbyC8dwGKIULishbdOLwRuIrCx0H3NMhdjk6DoRs3LbT7ULI43ibTQe2_DWPpiPmNlQdL7G308Jepls/s640/Lemira+Portrait+med.jpg" width="547" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Artiste inconnu / Unknown artist, <b>Portrait de/of Lemira Strong Colby</b>, ca 1840<br />
Huile sur toile / Oil on canvas<br />
Collection Musée Colby-Curtis Museum</td></tr>
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</div><div class="MsoNormal"></div><div class="MsoNormal">Manuscript maps are rather scarce documents, as most of the geographical maps that one encounters are usually printed copies, often drawn from a lost original. Consequently, we were quite surprised when Geneviève Thibodeau, assistant curator to the museum’s collections, uncovered a long canvas pouch in our reserves which no one had previously noticed – nor listed in the inventory of our collections and archives. The pouch held four four large maps rolled upon wooden holders, three of which were severely damaged copies of the famous printed map by <i>Putnam & Grey</i><span style="font-style: normal;">, showing the Eastern Townships in 1863. (The poor condition of these maps is unfortunately irreversible – however, our archives hold another copy of the map in rather good condition, displayed permanently in our Archive center).</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The fourth map, showing the United States, with the full extent of the Great Lakes and southern parts of Quebec, brought us a really pleasant shock, not to to speak of its very satisfying state of preservation. This discovery was surprising for many other reasons : first, the document is a <i>manuscript</i><span style="font-style: normal;"> map – entirely hand-drawn and painted; second, the author of the map is none other than <b>Lemira Strong</b></span>, who became in 1826 the wife of <b><i>Moses French Colby</i></b><span style="font-style: normal; font-weight: normal;">, which settled his family in Stanstead in 1832. Moreover, the map bears a date, </span><b>1823</b><span style="font-weight: normal;">, when young Lemira was at the time only 17 years old. Quite surprisingly, the map is extremely detailed, and very handsomely drawn and inscribed in black ink, with painted highlights in blue, green and red.</span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyzNPWX2HXeMsxeyQe5qaNbQBnwYT8738L4df2xuRn6K1vhQW2hxuEhG2u0dr3jUFVGd8G1hYYIJgyrjuE-UoetGBEg-6e_qjLCWBlKbvXM4unoIEVvEAC7LB5KgwQwaRjm_bqwRU4T6A/s1600/lemira+map+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyzNPWX2HXeMsxeyQe5qaNbQBnwYT8738L4df2xuRn6K1vhQW2hxuEhG2u0dr3jUFVGd8G1hYYIJgyrjuE-UoetGBEg-6e_qjLCWBlKbvXM4unoIEVvEAC7LB5KgwQwaRjm_bqwRU4T6A/s640/lemira+map+2.jpg" width="640" /></a></div><br />
Combining six sheets of paper mounted on a piece of canvas, itself rolled on a piece of wood, the map measures 101 cm x 118,5 cm. In the lower right, a large painted "cartouche" bears the title <b><i>A Map of the United States of America</i></b><span style="font-style: normal; font-weight: normal;">, with a signature and date : </span><b><i>Lemira Strong 1823</i></b><span style="font-style: normal; font-weight: normal;">. It seems possible that the detailed information found on this map could have been compiled from various cartographic sources, along with red painted indications for borders that show boundaries between American states that have since changed. As well, the boundary line between Quebec and the States of Vermont and New Hamphire follows an unusual tracing, since the Canada-United States border was still the object of debate at the time. Indeed, the border line was finally agreed upon in 1842, when the </span><i>Ashburton Treaty </i><span style="font-style: normal;">brought an end to the border contest (a treaty based in part on surveys done by Joseph Bouchette in 1827). As a matter of fact, Lemira Strong inscribed a written comment along the border line, which we haven’t yet managed to decipher, owing to its delicate writing under the dark-brownish coating that covers the map.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Lemira Strong (Colby) was born in 1806 in Pawlet,Vermont. Not much is known about her before 1826, the year she wed Dr Moses French Colby, then living in Derby Line. In 1827, she would give birth to her elder son, <i>Charles Carroll Colby</i><span style="font-style: normal;">, and later to more children. However, it was only 1831 when Moses Colby removed his physician’s office to Stanstead Plain, followed a year later by Lemira and the family. It appears that in 1823, Lemira Strong was at the time a </span><b><i>teacher</i></b><span style="font-style: normal; font-weight: normal;">, already at such a young age, since the manuscript map we have uncovered (apparently unknown to the family itself until now) precisely belongs to the type of scrolled maps which were used years ago as teaching aids, up against the schoolroom wall or hung against the blackboard. </span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ONDA6FM7Bonj1EtnG4fprIwerxpbHeWBXn-6heyMAv43sW5WdX_PXaE2VO1QBOktLLgFl1ITkwL6l6BH4784RSMeMwm11P3d_H8HBlGCQJ51GUDPNHm4fUsdlgrWngLDNdMrjWqhrdQ/s1600/De%25CC%2581tail+carte+1823+mid.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="color: #bf9000;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ONDA6FM7Bonj1EtnG4fprIwerxpbHeWBXn-6heyMAv43sW5WdX_PXaE2VO1QBOktLLgFl1ITkwL6l6BH4784RSMeMwm11P3d_H8HBlGCQJ51GUDPNHm4fUsdlgrWngLDNdMrjWqhrdQ/s640/De%25CC%2581tail+carte+1823+mid.jpg" width="640" /></span></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The condition of this map, however satisfying, will anyhow require important restoration work before being shown to the public. Some marginal tears and losses, and folds in the edges of certain paper parts, will need to be repaired professionally – but the map will also require some degree of overall flattening, after more than 185 years of being rolled up ! As well, the map has received a protective coating a good while back (possibly a "shellac" or some other type of varnish) which has darkened severely over time, and which has cracked and flaked off in many places, uncovering the white surface of the paper, but also... the apparently intact ink tracings and painted colours. Thus, it may be possible that paper restoration experts can remove the old brownish coating without damaging any further the contents of this map. We’ll soon see...</div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-38065802630994391622010-12-30T18:26:00.000-05:002011-01-04T11:44:24.396-05:00Henry Seth Taylor, photographer<div class="MsoNormal" style="text-align: left;"><span lang="FR-CA">This man is widely known as the inventor of the first self-propelled car in Canada. His famous "steam buggy", a horseless carriage developed in his home town of Stanstead around 1865, is recognized as an important landmark of Canadian technology, and is now preserved at the <i>Canadian Museum of Science and Technology</i></span><span lang="FR-CA"> in Ottawa. Displayed two years ago at the "Art and the Automobile" exhibition in Ogden, it was the subject of a stamp issued by Canada Post a few years back.</span></div><div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;"><span lang="FR-CA">Henry Seth Taylor’s adventures with steam engines extended later on with the "Gracie", a steamboat he operated on Lake Memphremagog in the 1870’s. Both his steam buggy and the steamer Gracie were immortalized in tintype photographs of the period – which themselves were very likely the handiwork of the inventor, whose ventures into photography are not quite as known as his automotive invention.</span></div><div class="MsoNormal" style="text-align: left;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-l9X5u8vHIiXKBLPcqUnfa53oUf2lsI-ac3DwapBwJbdUmpZLyCyFxotQ9CM9lOOujuefB_TkbKtZUFkvF8TseNEBk-GaYW1cmnn4fQde2eXq4xbUqBBvzXCe15KG_FZgSDIBsa5-Re4/s1600/SHS+Henry+Seth+Taylor+Steam+Car+Ferrotype.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><b><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-l9X5u8vHIiXKBLPcqUnfa53oUf2lsI-ac3DwapBwJbdUmpZLyCyFxotQ9CM9lOOujuefB_TkbKtZUFkvF8TseNEBk-GaYW1cmnn4fQde2eXq4xbUqBBvzXCe15KG_FZgSDIBsa5-Re4/s640/SHS+Henry+Seth+Taylor+Steam+Car+Ferrotype.jpg" width="640" /></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Henry Seth Taylor's "steam buggy", ca 1865-1875.</b><br />
<b><i>Tintype</i></b>, possibly by H. S. Taylor, ca 1865. Stanstead Historical Society Archives.</td></tr>
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</span></div><div class="MsoNormal" style="text-align: left;"><span lang="FR-CA"> </span></div><div class="MsoNormal" style="text-align: left;"><span lang="FR-CA">Born on April 9th, 1831 in Stanstead Plain, son of Silas Taylor and his wife Sarah, Henry Seth Taylor was apprenticed at the age of 11 to a Boston clockmaker. He apparently returned to Stanstead only years later in 1856, aged 25, at which time he was initiated as a Freemason into the Golden Rule Lodge. Though little is known about his professional activities, Taylor made a living from various sources. He operated a jewellery shop in Derby Line, right upon the border, which he advertized repeatedly in the years 1869 to 1871, when he sold the business to a Mr. Parsons, himself a jeweller and clocksmith. But he seems to have generated most of his life income through profits on his properties and other investments, leaving confortable means to his wife and family upon his death, on January 9th, 1887. </span></div><div class="MsoNormal" style="text-align: left;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghGElgl76E3tI3NWXYo6ZFwsQ6IUvtoHdLNKKZYPZP_yYiVvzN7SfiBNctakeyFYMsn8lQtxTeaKB6_rIj7xMfmENEPfofNKQ70h2-APhwE6KB7dxIXRhDaJZiW1yYqfifoi6NamTP2s8/s1600/Taylor+Saloon+SJ+1859.02.17.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghGElgl76E3tI3NWXYo6ZFwsQ6IUvtoHdLNKKZYPZP_yYiVvzN7SfiBNctakeyFYMsn8lQtxTeaKB6_rIj7xMfmENEPfofNKQ70h2-APhwE6KB7dxIXRhDaJZiW1yYqfifoi6NamTP2s8/s400/Taylor+Saloon+SJ+1859.02.17.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><br />
Stanstead Journal</i>, February 17, 1859</td></tr>
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</span></div><div class="separator" style="clear: both; text-align: left;"><span lang="FR-CA">In his early years in Stanstead, following his return from Boston, Henry Seth Taylor operated a saloon in Stanstead Plain – although he was reputed a good Christian citizen, and a man who did not drink. We don’t know much about this saloon, apart from an advertisement in the <i>Stanstead Journal</i></span><span lang="FR-CA"> (starting September 1858), as being the place to visit "if you want the best Ambrotype, Photograph, or Melaineotype, Ever made in this country". This ad ran for some months well into 1859, and possibly later. However, by the end of January 1863, the saloon business appears to be over for Taylor, as another photographic "artist" by the name of O. C. Bolton advertises in the <i>Stanstead Journal</i></span><span lang="FR-CA"> for ambrotypes and photographs, stating that he will be available for a short stay "at the Saloon formerly occupied by H.S. Taylor" at Stanstead Plain.</span></div><div class="MsoNormal" style="text-align: left;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq0Va6Y6qJ97gvvFbG5WgO5971lpz1Sotl3fR2Hp3vmss984rVXIf4zMdwe9zXvdBAgEbqTY5awinPzzhOwTjPmxBDDG5FhO8D_Pz8Y-GSLKU7hTFuDaL-VS5JVYCku-8GTq9PIFK7jDw/s1600/Bolton+Ambros+SJ+1863.01.29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq0Va6Y6qJ97gvvFbG5WgO5971lpz1Sotl3fR2Hp3vmss984rVXIf4zMdwe9zXvdBAgEbqTY5awinPzzhOwTjPmxBDDG5FhO8D_Pz8Y-GSLKU7hTFuDaL-VS5JVYCku-8GTq9PIFK7jDw/s400/Bolton+Ambros+SJ+1863.01.29.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Stanstead Journal</i>, January 29, 1863</td></tr>
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</div><div class="MsoNormal"><span lang="FR-CA">Apart from hosting travelling photographers such as this Bolton, there is solid evidence that Henry Seth Taylor himself actually practised as an "ambrotypist" – that is, a photographer using the technique of the ambrotype, a method initiated in 1851 by Frederick Scott Archer and developed afterwards into a variety of improvements and applications, up to the "tintype" which dominated the market until late in the 19th century. (We will discuss the ambrotype and tintype in a later blog posting). Some ambrotypes by Henry Seth Taylor have been preserved, including an ambrotype portrait of William Benton Colby (brother of Charles Carroll Colby), bearing the signature "H. S. Taylor / Stanstead C. E.". </span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr_FG5DSMzAaOTRzd-cTwrBYtHkOHJpYFRLySk6xwUMFwAFiohDDq05HhDDAnsbSiXGU3e2MIYv8q6osadlh_9vMpuDhDBlsJbhIjYU9wUk8-VXbfrzzgv5R5rBxrxJnhe5Rox44DDuM/s1600/Ambro+-+WB+Colby+%2528Taylor%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtr_FG5DSMzAaOTRzd-cTwrBYtHkOHJpYFRLySk6xwUMFwAFiohDDq05HhDDAnsbSiXGU3e2MIYv8q6osadlh_9vMpuDhDBlsJbhIjYU9wUk8-VXbfrzzgv5R5rBxrxJnhe5Rox44DDuM/s640/Ambro+-+WB+Colby+%2528Taylor%2529.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>William Benton Colby</b> (1833-1884),<b> <i>ambrotype</i> portrait by Henry Seth Taylor.</b><br />
Signed H. S. Taylor lower left, marked Stanstead C. E. lower right.<br />
Stanstead Historical Society Archives.</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpWVrLjiA9y1ZmLZMCtgAJEhV6-OVPk_ABnUhM9-qImNuZ1W-uMbjEhgYsxjls3wNRm1eGBQHDR7MoI_2ua8PKQb-qVBuFVKfbZ7SNhBEbDk9eHFXbpEktwWp5D7HxWdd_B1oMKV-818/s1600/Ambro+-+Signature+Taylor+left.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpWVrLjiA9y1ZmLZMCtgAJEhV6-OVPk_ABnUhM9-qImNuZ1W-uMbjEhgYsxjls3wNRm1eGBQHDR7MoI_2ua8PKQb-qVBuFVKfbZ7SNhBEbDk9eHFXbpEktwWp5D7HxWdd_B1oMKV-818/s320/Ambro+-+Signature+Taylor+left.jpg" width="287" /></a></div><div class="MsoNormal"><span lang="FR-CA"><br />
</span></div><div class="MsoNormal"><span lang="FR-CA">Dye-stamped on the brass frame that holds the ambrotype within its case, the inscription is likely to be found on other pictures of this type in the area; and according to our evidence, this photograph would have been processed between 1856 and 1863, which is consistent with the ambrotype’s period of utmost popularity.</span></div><div class="MsoNormal"><span lang="FR-CA"><br />
</span></div><div class="MsoNormal"><span lang="FR-CA">There is no telling if Taylor experimented at all with the earlier <i>daguerreotype</i></span><span lang="FR-CA"> technique (see our blog posting of December 5, 2010), which appears to have been practised in Stanstead from 1846 until 1860, but it remains likely that he was familiar with it. However, Taylor was among the very first to advertise the <i>ambrotype</i></span><span lang="FR-CA"> technique in Stanstead and possibly, the one who actually introduced the new photographic process in the area by making it available at his saloon. Henry Seth Taylor also clearly moved early on to the so-called <i>tintype</i></span><span lang="FR-CA"> – or "melaineotype" as it was first called (from the Greek word "melainos" for metal), and as Taylor named it in his 1858 advertisenent. The fact that tintypes have been preserved, of both his steam buggy (ca 1865) and his steamboat (ca 1876), suggests the possibility that Taylor himself may have made those photographs.</span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivYyQ2sY7yytR6g-n6netBGDk2AWFxVXKZzxj6qhSBNABoJI2TdMU_rz1fc_CCEvyLollhkY6ZeOrN-1xsLmsXviQEdZro8E_48GX2TKM4Z0CDAl_2W0YnpWrVJ9MkckniDVjuQdLBfN8/s1600/Taylor+Imprint+Corr.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivYyQ2sY7yytR6g-n6netBGDk2AWFxVXKZzxj6qhSBNABoJI2TdMU_rz1fc_CCEvyLollhkY6ZeOrN-1xsLmsXviQEdZro8E_48GX2TKM4Z0CDAl_2W0YnpWrVJ9MkckniDVjuQdLBfN8/s200/Taylor+Imprint+Corr.jpg" width="200" /></a></div><div class="MsoNormal"><span lang="FR-CA">Further evidence points to Taylor as the author of the tintype taken of his steam buggy. A <i>paper</i></span><span lang="FR-CA"> based photograph of the same machine, likely taken around the same time as the tintype – and bearing the printed inscription "H. S. Taylor, Photographer, Stanstead C. E." on its reverse side – indicates that Taylor advertised himself as a photographer circa 1865; or at the very least, produced this photograph in several copies, possibly to advertise his machine.</span></div><div class="MsoNormal" style="text-align: center;"><div style="text-align: auto;"><span lang="FR-CA"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii08tqj1pK0FPMP4dFl9FQNDI37B70LkJnbUMyZu_CtEAOaGi2WWWRjKxfq3NIij_6ya47IA18cD-HhIgPHzZYPDCL5m7pLRdvuycOwecDhkqHbt_325LopalEPhHTquc321sno7xHsek/s1600/Taylor+Buggy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii08tqj1pK0FPMP4dFl9FQNDI37B70LkJnbUMyZu_CtEAOaGi2WWWRjKxfq3NIij_6ya47IA18cD-HhIgPHzZYPDCL5m7pLRdvuycOwecDhkqHbt_325LopalEPhHTquc321sno7xHsek/s640/Taylor+Buggy.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Henry Seth Taylor's "steam buggy", circa 1865.</b><br />
<b><i>Calotype on salted paper</i></b>, mounted on card. Inscribed on the reverse side with Taylor's imprint.<br />
Stanstead Historical Society Archives.</td></tr>
</tbody></table><span lang="FR-CA"><br />
</span><br />
<span lang="FR-CA">In this case, the technique used to process this paper photograph (which portrays Taylor himself behind his invention), belongs to yet another early photographic technique – that of the "calotype", or "talbotype" following the name of its inventor, Henry Fox Talbot, who perfected the process around 1840, at about the same time that Daguerre brought out the daguerreotype. The calotype process involves making a first <i>negative</i></span><span lang="FR-CA"> (reversed) image with a camera onto a sensitized sheet of thin paper, and using that negative by contact to expose another sheet of sensitized paper to obtain a <i>positive</i></span><span lang="FR-CA"> image : this method obviously allowed making as many copies of the positive as you wished. The image of Henry Seth Taylor with his steam buggy belongs clearly to this technique, showing the typical grain of the paper-processed <i>calotype</i></span><span lang="FR-CA">, which retains the texture of the initial paper negative.</span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGl1ft9N0lgxLfNH5AVuFuI2zh3FmsRkdl4qAWulLrGaemBvCtFQnOs_WCXLyq2O28VbEnz7BqHooUsOfwtJw2EgY1b6lvC86w8YZTRYcZKP6FMiBzVEw6swArzK7ppf7pT7H5hRkbVFM/s1600/Henry+Seth+Taylor+Steam+Car.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGl1ft9N0lgxLfNH5AVuFuI2zh3FmsRkdl4qAWulLrGaemBvCtFQnOs_WCXLyq2O28VbEnz7BqHooUsOfwtJw2EgY1b6lvC86w8YZTRYcZKP6FMiBzVEw6swArzK7ppf7pT7H5hRkbVFM/s640/Henry+Seth+Taylor+Steam+Car.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Henry Seth Taylor's "steam buggy", circa 1865.<br />
<span class="Apple-style-span" style="font-weight: normal;">Enhanced copy of the above calotype, showing the graininess of the initial paper negative.</span></b></td></tr>
</tbody></table><div class="MsoNormal"><span lang="FR-CA"><br />
</span></div><div class="MsoNormal"><span lang="FR-CA">This negative-positive process led the way to many improvements, and would eventually become the norm in photography for more than a century. One of these improvements was precisely the invention of the <i>ambrotype</i></span><span lang="FR-CA"> (as practised by Taylor), which is in fact a negative on glass based on a "collodion" (cotton cellulose) emulsion : shortly after its invention, the collodion glass negative was perfected to allow printing more detailed positives on paper from the original. </span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRumpXC8KWwnhgOH0oeTc7rAnqzafllX8k4e_ysRBy_Zeml1JLHu97RGwHHDHOrgcLfD-JGpNnDvfVW-Dz89UmHyiVjFwGc9hFAO57vEQR0Hs5JdJZDxMPkK0MNWZJk8N8eb7pxrx_s8k/s1600/SHS+3932+Henry+Seth+Taylor+52+years+old+1882.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRumpXC8KWwnhgOH0oeTc7rAnqzafllX8k4e_ysRBy_Zeml1JLHu97RGwHHDHOrgcLfD-JGpNnDvfVW-Dz89UmHyiVjFwGc9hFAO57vEQR0Hs5JdJZDxMPkK0MNWZJk8N8eb7pxrx_s8k/s640/SHS+3932+Henry+Seth+Taylor+52+years+old+1882.jpg" width="506" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Henry Seth Taylor </b>(1831-1887),<b> aged 52 in 1882</b>, by an unknown Boston photographer.<br />
Stanstead Historical Society Archives.</td></tr>
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</span></div><div class="MsoNormal"><span lang="FR-CA">In short, it appears that Henry Seth Taylor experimented as a photographer with a wide variety of techniques, keeping abreast of recent developments and inventions in the new-born field of photography. As a self-made inventor who has experimented with steam engines – not to speak of other things such as "talking machines", music boxes, "hide-a-beds" and sophisticated clockworks –, Henry Seth Taylor embodied the innovative spirit of his era : as such, it comes as no surprise that he should have dwelved in one of the foremost technological breakthroughs of the 19th century – photography.</span></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com3tag:blogger.com,1999:blog-57693342798431772.post-41490974496845329512010-12-09T13:30:00.002-05:002011-01-29T09:52:37.187-05:00Courtepointes d’exception I : Pointes folles / Quilting Masterpieces I : Crazy Quilts<div class="MsoNormal"><span lang="FR"><i><span class="Apple-style-span" style="color: #9fc5e8;">(English follows)</span></i></span></div><div class="MsoNormal"><span lang="FR"></span><br />
<span lang="FR"></span></div><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFavlccjyY-mrI0toNAUemjduNFqmYnPWUsJd6_31F3dEkTj9KodZCFEbZgkF7zo4lqwIZecctKenG6fbI5zmYGvU500mJIduFd7DmryF6xTZjhlneJs-T1KYBfBa_cLxl8M-ESqKDwr4/s1600/De%25CC%2581tail+3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFavlccjyY-mrI0toNAUemjduNFqmYnPWUsJd6_31F3dEkTj9KodZCFEbZgkF7zo4lqwIZecctKenG6fbI5zmYGvU500mJIduFd7DmryF6xTZjhlneJs-T1KYBfBa_cLxl8M-ESqKDwr4/s200/De%25CC%2581tail+3.jpg" width="189" /></a><span lang="FR">La collection du Musée Colby-Curtis comprend une exceptionnelle variété de courtepointes traditionnelles, plusieurs très anciennes, provenant de la région de Stanstead ou d’autres secteurs des Cantons-de-l’Est. La collection, qui se compose de près de 50 pièces, comprend notamment des œuvres textiles de qualité supérieure, dont plusieurs peuvent à juste titre être qualifiées de « chefs-d’œuvre » du genre. Au fil des semaines à venir, notre blogue en présentera quelques-unes, parmi les plus remarquables : aujourd’hui, deux magnifiques exemples de « <b><i>pointes folles</i></b> », un type de courtepointes très en vogue au cours des années 1880. Avec leurs assemblages de formes irrégulières, leurs tissus de soie et de velours, et leurs somptueux décors brodés en une étonnante variété de motifs, les pointes folles présentées ici comptent parmi les plus beaux spécimens de cette discipline textile. Réalisées entre 1880 et 1887 par <b>Winnie Buckland (Channell) </b>de Barnston, et par <b>Caroline Dickerson</b> de Stanstead, ces deux œuvres montrent une influence manifeste de l’art décoratif du Japon, récemment découvert à l’époque en Europe et en Amérique.</span></div><div class="MsoNormal"><span lang="FR"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_vDWCk1zJwTYORwArTvvKPdc6efdnP_Btakc1Foibf9gYgCCnqg65nmzAr2UaxTqHuIx91us13yoeJt6um4xivJbVgdcUTSciY_FtZWaZ1g6Wrr8w1duLaDFPWHt1GcNmY44QZ0rQBT0/s1600/Crazy+Quilt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_vDWCk1zJwTYORwArTvvKPdc6efdnP_Btakc1Foibf9gYgCCnqg65nmzAr2UaxTqHuIx91us13yoeJt6um4xivJbVgdcUTSciY_FtZWaZ1g6Wrr8w1duLaDFPWHt1GcNmY44QZ0rQBT0/s640/Crazy+Quilt.jpg" width="552" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal"><span lang="FR"><b>Winnie Buckland Channell</b></span><span lang="FR"> (1870-1940), </span></div><div class="MsoNormal"><span lang="FR"></span><i>Courtepointe folle à motifs brodés et peints</i> / <i>Crazy </i><span lang="FR"><i>Crazy Quilt with embroidered and painted designs</i></span><span lang="FR">, </span></div><div class="MsoNormal"><span lang="FR">datée en broderie / dated in the cloth 1886 et 1887. </span></div><div class="MsoNormal"><span lang="FR"></span>Soie, velours et autres tissus / Silk, velvet and other fabrics, 58,5" x 54" (1,49 m x 1,37 m).</div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">Née à Barnston, fille de Charles S. Buckland et Emily Benton-Pomroy, </span></span></div><div class="MsoNormal" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFavlccjyY-mrI0toNAUemjduNFqmYnPWUsJd6_31F3dEkTj9KodZCFEbZgkF7zo4lqwIZecctKenG6fbI5zmYGvU500mJIduFd7DmryF6xTZjhlneJs-T1KYBfBa_cLxl8M-ESqKDwr4/s1600/De%25CC%2581tail+3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></a><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">Winnie Buckland épousa en 1891 Leonard Stewart Channell, fondateur du </span><i><span class="Apple-style-span" style="font-size: x-small;">Sherbrooke Daily Record</span></i></span><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">; </span></span></div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">elle vécut presque toute sa vie dans les Cantons-de-l'Est. </span></span></div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">/ Born in Barnston, daughter of Charles S. Buckland and Emily Benton-Pomroy, </span></span></div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">Winnie Buckland married in 1891 to Leonard Stewart Channell, founder of the </span><i><span class="Apple-style-span" style="font-size: x-small;">Sherbrooke Daily Record</span></i></span><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">; </span></span></div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">she lived most of her life in the Eastern Townships.<o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">Collection Musée Colby-Curtis / Colby-Curtis Museum Collection, </span></span></div><span lang="FR" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: x-small;">don de / donated by Mrs. Muriel Channell, Daytona Beach, Florida.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkxolGRkxJi6RVLVlWePoVDABiHnzzzG7taQ-ouRpGDrwR3jZW0OW_GHSssPKsWBgBhotbW6v4-aQsasnv7DSW5kvyZxqMzMGAYtxbW_IOW9s9HYIR6TXi7Cda_5p-bd8rr3eaLeayBX0/s1600/De%25CC%2581tail+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkxolGRkxJi6RVLVlWePoVDABiHnzzzG7taQ-ouRpGDrwR3jZW0OW_GHSssPKsWBgBhotbW6v4-aQsasnv7DSW5kvyZxqMzMGAYtxbW_IOW9s9HYIR6TXi7Cda_5p-bd8rr3eaLeayBX0/s200/De%25CC%2581tail+1.jpg" width="200" /></a><span class="Apple-style-span" style="font-family: 'Times New Roman';"> <span lang="FR" style="font-family: 'Times New Roman'; font-size: 12pt;">The Colby-Curtis Museum collection comprises an exceptional variety of traditional quilts, some of these very old, all from the Stanstead area and close-by in the Eastern Townships. Our collection, totalling some 50 different pieces, holds several textiles works of superior quality, and many of these quilts may reasonably be labelled as masterpieces</span></span><span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: 16px;">. Over the coming weeks, our blog will highlight a few of these quilts, among the most remarkable : today, two magnificent examples of "<b>crazy quilts</b>", a type that was quite fashionable in the 1880’s. Assembled with irrregular shapes of cloth, mostly silk and velvet, with intricate embroidered designs in a wide variety of decorative stitches, the crazy quilts shown here are among the most beautiful samples of this quilting technique. Hand stitched, embroidered and hand painted between 1880 and 1887 by <b>Winnie Buckland (Channell) </b>from Barnston, and <b>Caroline Dickerson</b> from Stanstead, these two works show clear influence from Japanese decorative arts and design, which at the time had recently been discovered in Europe and America.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAhFjZP-qALF0Cq8_jQ4BSRdkQvW_H_njCEze92_lmWvvV_mGbpp3n_aowjAYGsz3I384iPHBr8DydFr_VqPAHjLmqvwWguTrWlrqD8goQyCeX8owqKC_oz3cJEHjJCV7yffjCanuMBw/s1600/Quilt+-+Dickerson+2008_12+-+copie+copie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAhFjZP-qALF0Cq8_jQ4BSRdkQvW_H_njCEze92_lmWvvV_mGbpp3n_aowjAYGsz3I384iPHBr8DydFr_VqPAHjLmqvwWguTrWlrqD8goQyCeX8owqKC_oz3cJEHjJCV7yffjCanuMBw/s640/Quilt+-+Dickerson+2008_12+-+copie+copie.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal"><span lang="FR"><b>Caroline Dickerson</b></span><span lang="FR"> (1830-1896), <i>Courtepointe folle</i> / <i>Crazy Quilt with embroidered designs</i></span><span lang="FR">, ca 1880. </span></div><div class="MsoNormal"><span lang="FR">Soie, velours et autres tissus / Silk, velvet and other fabrics, 64" x 65" (1,63 m x 1,65 m).</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">Né</span></span></span><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">e à Stanstead, fi</span><span class="Apple-style-span" style="font-size: x-small;">lle de Mary Price et Silas H. Dickerson, premier imprimeur et premier maire de Stanstead.</span></span></div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">Born in Stanstead, daughter of Marie Price and Silas H. Dickerson, first printer and first mayor of Stanstead.<o:p></o:p></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR"><span class="Apple-style-span" style="font-size: x-small;">Collection Musée Colby-Curtis / Colby-Curtis Museum Collection, </span></span></div><span lang="FR" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: x-small;">don de / donated by Mrs. Helen Crook Hanson, Silver Spring, Maryland.<br />
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</span>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-73587834790189145332010-12-07T12:28:00.000-05:002010-12-07T12:28:34.191-05:00The Blackberry Girl : an 1834 "toy book" from Stanstead<!--StartFragment--> <br />
<div class="MsoNormal"><span lang="FR">Around 1832-1833, <i>Joseph Soper Walton</i></span><span lang="FR"> and <i>Asa Gaylord</i></span><span lang="FR"> came to Stanstead from Montpelier, Vermont, and set up a publishing business. Walton, a printer and journalist, and Gaylord, a bookbinder, had previous experience in printing and publishing, as they had quite likely met years before while apprenticing to Ezekiel P. Walton, Joseph’s elder brother and a major printer in Montpelier. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">They were not quite the first to publish books and newspapers in the Eastern Townships, as <i>Silas Horton Dickerson</i></span><span lang="FR"> had settled here as a printer in 1823, issuing his weekly paper <i>The British Colonist</i></span><span lang="FR">, as well as a few books. Over the years, however, Dickerson got into trouble with judicial authorities, Tory opponents and unpaid merchants – who together, brought the printer to bankruptcy, and forced him to sell out his equipment by 1834. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span lang="FR">Not so surprisingly, the newcomer Joseph S. Walton happened to be the one who bought back the used printing wares in 1834, quite possibly after working with Dickerson at his shop for a few months upon arriving in Stanstead. In any case, apparently without any equipment of their own, <b>Walton & Gaylord</b></span><span lang="FR"> managed to print a few titles in Stanstead before Dickerson went out of business : among those, <b><i>The Child’s Book of Natural History</i></b></span><span lang="FR"> (by an anonymous teacher, 1833) and <b><i>The Blackberry Girl, A Pretty Story in Verse for Good Children</i></b></span><span lang="FR">, by Mrs. Lovechild, 1834. (This author, Mrs. Lovechild, obviously used a pseudonym – as a children’s book writer cannot possibly bear such a name for real…) </span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMKDqORBuKXjtAxmtAbx3A_WFFYHenHEL6pXn4SSlk3jUFrw468MVpONeTBH_KC_ZJP3IlzIXJxzTzFnIyB69rLvv2rkvqMERkAfW0VOLCYbAJF9QlOtb28zwbYVzDaicu4yRdGdhYh0/s1600/Blackberry+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMKDqORBuKXjtAxmtAbx3A_WFFYHenHEL6pXn4SSlk3jUFrw468MVpONeTBH_KC_ZJP3IlzIXJxzTzFnIyB69rLvv2rkvqMERkAfW0VOLCYbAJF9QlOtb28zwbYVzDaicu4yRdGdhYh0/s640/Blackberry+1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Blackberry Girl</i>, paper wraps, front and back covers</td></tr>
</tbody></table><div class="MsoNormal"><span lang="FR"><br />
</span></div><div class="MsoNormal"><span lang="FR"> </span></div><div class="MsoNormal"><span lang="FR">Both these titles show clear similarities in their crude letterpress typesetting and printing, their use of repetitive ornaments and the inclusion of woodblock prints of animals – and as such, are very different from later publications Walton & Gaylord would issue, leading us to think they might be the handiwork of binder Asa Gaylord rather than Walton’s. Both are charming little publications, probably the first two in a long series of "Reward Books", or "Toy Books" as Gaylord describes them in his account book (1838-1845, now preserved in the SHS Archives). Indeed, in 1835, on the back cover of their <i>Geography and History of Lower Canada</i></span><span lang="FR">, the publishers boast "over 25 titles" in this category of reward books, besides listing several school books and other publications. All in all, some 11 different titles appear to have been published by Walton & Gaylord before 1834 (not counting the reward books), and at least as many more afterwards – not to speak of their newspapers and their series of <i>Farmers’ Almanac</i></span><span lang="FR">. As was sometimes the case with Walton & Gaylord books, the toy books above may be reprints from earlier American editions, yet we have no evidence this was the case here.</span></div><div class="MsoNormal"><br />
</div><span lang="FR" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-fareast-language: FR;">Unfortunately, the two titles above are among the only three from this series we know of – most likely the only preserved titles, since today, very few public libraries (apart from the SHS Archives, which hold these two) list these or other titles from the series. Another known title is <i>The Little Book</i></span><span lang="FR" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-fareast-language: FR;">, from an anonymous author, also issued in 1834. Thanks to the <b>Taylor family</b></span><span lang="FR" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-fareast-language: FR;"> of Massawippi, who donated an original copy of <i>The Blackberry Girl</i></span><span lang="FR" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-fareast-language: FR;"> to the SHS in 1962, we can offer our readers and members a scan of this delightful little booklet (8 cm x 11,5 cm in size).</span><br />
<span lang="FR" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: FR; mso-fareast-language: FR;"><br />
</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSUbINq2OHdibdpyVwPVuBEY73UJuqxaC3eE1TB2FTQ6QoE7Kgq8wixmxjQli0BOf97XagA-Ev56M46zagdOMxQG9xF3pHjxszVinTTZuJwPhS8ngLH0fLMzpzsjmWxVio5MgmIJipRks/s1600/Blackberry+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSUbINq2OHdibdpyVwPVuBEY73UJuqxaC3eE1TB2FTQ6QoE7Kgq8wixmxjQli0BOf97XagA-Ev56M46zagdOMxQG9xF3pHjxszVinTTZuJwPhS8ngLH0fLMzpzsjmWxVio5MgmIJipRks/s640/Blackberry+2.jpg" width="640" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGopbCY2Cs_P5KTs3kRvuo_UrrBn07BEk50iG0Q75PBn9vdqNkQ60CUIAcgEQjkv9YXPg8Q2ynQc5GeBtjPZrR_dK2gAU3qMJjf9Pe80gJTCHKbspbdWjL82EzG_l5ajdlXTiso2JVo8w/s1600/Blackberry+4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="color: #bf9000;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGopbCY2Cs_P5KTs3kRvuo_UrrBn07BEk50iG0Q75PBn9vdqNkQ60CUIAcgEQjkv9YXPg8Q2ynQc5GeBtjPZrR_dK2gAU3qMJjf9Pe80gJTCHKbspbdWjL82EzG_l5ajdlXTiso2JVo8w/s640/Blackberry+4.jpg" width="640" /></span></a></div><br />
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</span>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-53402737658567379102010-12-05T18:03:00.000-05:002011-01-03T13:59:21.197-05:00Le daguerréotype à Stanstead<div class="MsoNormal">La première photographie conservée date des années 1826-1827. Réalisée par le Français <b>Nicéphore Niepce</b><span style="font-weight: normal;"> (1765-1833), l’image fut exécutée sur une plaque d’étain, sensibilisée à l’aide de vapeurs de sels d’argent; baptisée « héliographe », elle avait réclamé près de 8 heures d’exposition. Niepce allait continuer d’expérimenter avec son nouveau procédé, s’associant en 1832 avec </span><b>Louis-Jacques Mandé Daguerre</b><span style="font-weight: normal;"> (1785-1851), un artiste-peintre et scénographe qui recherchait le moyen de produire des images pour son célèbre « Diorama » parisien. Mais l’association des deux hommes fut de courte durée, car Niepce mourut en 1833, laissant Daguerre poursuivre seul ses recherches. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Ce n’est qu’en <b>1839</b><span style="font-weight: normal;"> que Daguerre fit enfin connaître au public son invention, qui fut bientôt connue sous le nom de </span><b><i>daguerréotype</i></b><span style="font-style: normal; font-weight: normal;">. De façon magnanime, le gouvernement français acheta le brevet d’invention de Daguerre, pour en faire ensuite don au monde entier au nom de la France. Le daguerréotype connut alors une énorme popularité, tant en Europe qu’en Amérique. </span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNxdNXx4RR-cSIgwjm21bbPACStZjOTtQgc19p6nf0O1j4M7H6E_xpzolBs6GebYNHoTXPSFYK2no1mmmL1_YyjLfp9kXtW10RCmb3JIq8Dmd0glN5iAh6d1Inl7UBx6T9rQPpwAK0mA/s1600/Dag+-+Annonce+Livernois+1855.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNxdNXx4RR-cSIgwjm21bbPACStZjOTtQgc19p6nf0O1j4M7H6E_xpzolBs6GebYNHoTXPSFYK2no1mmmL1_YyjLfp9kXtW10RCmb3JIq8Dmd0glN5iAh6d1Inl7UBx6T9rQPpwAK0mA/s320/Dag+-+Annonce+Livernois+1855.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Journal <i>Le Canadien</i>, Québec, janvier 1855</td></tr>
</tbody></table><div class="MsoNormal">Dès l’année de son invention, un amateur québécois, <i>Edmond Joly de Lotbinière</i><span style="font-style: normal;">, utilisa le procédé de Daguerre pour exécuter des images de monuments en Grèce et en Égypte. En 1840, on faisait connaître le daguerréotype à New-York et par la suite, dans de nombreuses villes américaines. À Montréal, un nommé </span><i>Doane</i><span style="font-style: normal;"> produisait des images de ce type en 1852, et à Québec, </span><i>Jules-Isaïe Benoît dit Livervois</i><span style="font-style: normal;"> annonçait déjà ce service, dès l’ouverture de son studio sur la rue Buade en 1855 : bientôt on allait offrir le daguerréotype dans une vingtaine de villes au Québec, notamment chez </span><i>William Notman</i><span style="font-style: normal;"> à Montréal. </span><br />
<span style="font-style: normal;"></span><b><b><b></b></b></b><br />
<b><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span style="font-style: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important; font-weight: normal; text-align: center;"><div style="display: inline !important; text-align: left;"><span style="font-style: normal;"><b>Stanstead</b> allait connaître très vite le nouveau procédé, ce premier ancêtre de la photographie. Lors des premières années de publication du <b><i>Stanstead Journal</i></b>, lancé en 1845, on annonce le passage de daguerréotypistes ambulants, venus dans la région à partir des villes de Nouvelle-Angleterre. En octobre <b>1846</b>, <b><i>Thomas W. Hugues</i></b> arrive de New York pour s'installer à l'hôtel Bangs de Stanstead, où il offre ses services de portraitiste dans la méthode <b><i>d</i></b></span><b><b><b></b></b></b></div><b><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span style="font-style: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; 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margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important; font-weight: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="display: inline !important;"><div style="display: inline !important;"><i>aguerrienne</i></div></div></div></div></div></div></div></b></b></div></div></b></b></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></div></div></div></b></b></div></div></b></b></div></div></div></b></b></div></div></b></b></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></b><b><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; 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margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important; font-weight: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span style="font-style: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="display: inline !important;"><div style="display: inline !important; text-align: left;"><span class="Apple-style-span" style="font-weight: normal;"><span style="font-style: normal; font-weight: normal;">, y compris pour reproduire par ce procédé des peintures. </span></span></div></div></div></div></div></div></div></b></b></div></div></b></b></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></div></div></b></b></div></div></b></b></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></b></div><div class="MsoNormal"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; 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margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span style="font-style: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span style="font-style: normal;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important;"><b><b><div class="MsoNormal" style="display: inline !important;"><div style="display: inline !important;"><div style="display: inline !important; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><b><div class="MsoNormal" style="display: inline !important; font-weight: normal;"><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-weight: normal; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: right;"><tbody>
<tr><td style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWT-83-ioX6v45qoC9CnxsZgM1vJ3rW_LYuo0bsllUevJTWUs3sJXaTfOlqeJb1Sb5xA8uxBGEVQ4uza9t7v4pHoOmJvyQ5_wzyeVy6gf7E_ecYtjcaWMVSTcTxQoM43iuBwZ6SAmyrVQ/s1600/Dag+-+Hugues%252C+Ad+Stanstead+1846.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWT-83-ioX6v45qoC9CnxsZgM1vJ3rW_LYuo0bsllUevJTWUs3sJXaTfOlqeJb1Sb5xA8uxBGEVQ4uza9t7v4pHoOmJvyQ5_wzyeVy6gf7E_ecYtjcaWMVSTcTxQoM43iuBwZ6SAmyrVQ/s400/Dag+-+Hugues%252C+Ad+Stanstead+1846.jpg" width="400" /></a></div></div></div></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><i>Stanstead Journal</i>, 13 octobre 1846</div></div></div></td></tr>
</tbody></table>Nombre de photographes ambulants allaient ainsi parcourir les routes des campagnes, travaillant parfois à même leurs ateliers installés dans des voitures à cheval. En septembre <span class="Apple-style-span" style="font-size: small;"><b>1852</b></span><span class="Apple-style-span" style="font-size: small;"><span style="font-weight: normal;">, par exemple, les propriétaires du </span></span><span class="Apple-style-span" style="font-size: small;"><b><i>Travelling Daguerrian Car</i></b></span><span class="Apple-style-span" style="font-size: small;"><span style="font-style: normal; font-weight: normal;"> s’arrêtent à Stanstead Plain pour pratiquer leur « art daguerrien », ainsi qu’ils l’avaient fait plusieurs fois auparavant dans les Cantons-de-l’Est. On offrait même à cette occasion de procurer un </span></span><span class="Apple-style-span" style="font-size: small;"><i>apprentissage de la technique</i></span><span class="Apple-style-span" style="font-size: small;"><span style="font-style: normal;">, de même que toutes les fournitures et équipements requis.</span></span><br />
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<tr><td style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Mq7qVQHkj-H5XuQGh2FErhD4Nq0aYowp1DcFPKu1fQL3tSQQx-pZonLYZHDEEEkzuYxA20Bm42DAZMeT05wBHzJKJHscMg6zlFvmMMGONFcPhDQREGG0tC6s0poc0QKk5P7apgAaa-k/s1600/Daguerrian+Art.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Mq7qVQHkj-H5XuQGh2FErhD4Nq0aYowp1DcFPKu1fQL3tSQQx-pZonLYZHDEEEkzuYxA20Bm42DAZMeT05wBHzJKJHscMg6zlFvmMMGONFcPhDQREGG0tC6s0poc0QKk5P7apgAaa-k/s640/Daguerrian+Art.jpg" width="330" /></a></div></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><i>Stanstead Journal</i>, 14 septembre 1852</div></td></tr>
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</tbody></table></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></b></span></span></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></div></b></b></span></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></span></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></div></b></b></span></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></span></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div></b></span></div></div></div></b></b></div></div></div></b></b></div></b></span></div></div></b></b></span></span></div></div></div></b></b></div></div></b></b></div><div><div class="MsoNormal">Au plan <b>technique</b><span style="font-weight: normal;">, le daguerréotype était produit à l’aide d’une variante de l’antique </span><b><i>camera obscura</i></b><span style="font-style: normal; font-weight: normal;">, connue depuis des siècles par les artistes-peintres. Au moyen de la caméra modifiée par l’ajout d’une lentille, on exposait le sujet à une </span><b>plaque de cuivre enduite d’argent</b><span style="font-weight: normal;">, sensibilisée préalablement à l’aide de vapeurs de brome et d’iode, qui réagissaient à l’argent en se transformant en <i>iodure d’argent </i></span><b><i>photosensible</i></b><span style="font-style: normal; font-weight: normal;">. </span></div><div class="MsoNormal"><span style="font-style: normal; font-weight: normal;"></span><br />
<span style="font-style: normal; font-weight: normal;"> </span></div><div class="MsoNormal"><span style="font-style: normal; font-weight: normal;">Au terme d’une exposition de 15 à 30 minutes (alors que le sujet devait rester immobile !), on retirait la plaque argentée de la caméra pour ensuite l’exposer à des </span><i>vapeurs de mercure</i><span style="font-style: normal;">, qui produisaient à la surface de la plaque une image d’allure fantômatique. La plaque ainsi « développée », qui présentait la surface polie d’un </span><b><i>miroir</i></b><span style="font-style: normal; font-weight: normal;">, permettait de visionner l’image produite en l’observant sous un certain angle.</span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wIAXxa3Z_7RCC-PWVC_9DiLdf2qescpqeX9Ehyj3NSpUThQhCQRVK4T79PkHOygQ7DxzgjpALM2EkiZ6NABNxth99JJlXIl2ZKaHhVdHlumY3t8ptuscM80_TvpWkvTzKiWIPgmdlwE/s1600/Dag+-+Groupe+femmes+plaque+quart.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wIAXxa3Z_7RCC-PWVC_9DiLdf2qescpqeX9Ehyj3NSpUThQhCQRVK4T79PkHOygQ7DxzgjpALM2EkiZ6NABNxth99JJlXIl2ZKaHhVdHlumY3t8ptuscM80_TvpWkvTzKiWIPgmdlwE/s640/Dag+-+Groupe+femmes+plaque+quart.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daguerréotype anonyme, <i>Groupe de femmes</i>, Stanstead vers 1850.<br />
Collection Musée Colby-Curtis.</td></tr>
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Pour le photographe, exposé à respirer tant de vapeurs toxiques, il s’agissait d’un procédé capricieux, et fort dangereux. Quant au client, il disposait au terme d’une longue session de pose, d’un <b><i>exemplaire unique</i></b><span style="font-style: normal; font-weight: normal;"> d’une image parfois décevante, qu’on ne pouvait visionner qu’avec quelque difficulté. Malgré tout, le procédé du daguerréotype n’offrait aucun précédent comparable, permettant d’acquérir à relativent peu de frais une image </span><b><i>durable</i></b><span style="font-style: normal; font-weight: normal;">, </span><b><i>miniature</i></b><span style="font-style: normal; font-weight: normal;"> et </span><b><i>portative</i></b><span style="font-style: normal; font-weight: normal;">, qu’on pouvait faire exécuter à répétition par le photographe. Mieux encore, l’image du daguerréotype pouvant </span><b>traverser le temps et l’espace</b><span style="font-weight: normal;">, offrant à chacun la possibilité de voir des êtres chers, ou des paysages, par-delà la distance ou la disparition d’un proche.</span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQjpEbS5XXZ8BYxHif43zVj3EBEyH0h19GxOdoaFixC0Y96mmWI_B1x76PjOD9MZ5nnNCg8YTWyF7ZOolYmq30AgfwkTvMJjczIgqT1gMPYY3tVpAPwPFhbgbNDBsAGGea-lnT99UT5-E/s1600/Dag+-+Attirail+de%25CC%2581veloppement.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQjpEbS5XXZ8BYxHif43zVj3EBEyH0h19GxOdoaFixC0Y96mmWI_B1x76PjOD9MZ5nnNCg8YTWyF7ZOolYmq30AgfwkTvMJjczIgqT1gMPYY3tVpAPwPFhbgbNDBsAGGea-lnT99UT5-E/s640/Dag+-+Attirail+de%25CC%2581veloppement.jpg" width="616" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Attirail pour le traitement d'un daguerréotype. (Source: Alan Buckingham, <i>Histoire de la photographie</i>,<br />
Coll. <i>Les yeux de la découverte</i>, Éditions Gallimard Jeunesse, Paris 2005)<br />
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De nombreux daguerréotypes furent produits, partout dans le monde, <b>entre 1839 et 1860</b><span style="font-weight: normal;"> environ, à quelle époque le procédé fut définitivement supplanté par celui du <i>collodion humide</i></span>, inventé en 1851 – une technique beaucoup plus performante, qui contribua en outre à perfectionner le processus photographique de l’<i>internégatif</i><span style="font-style: normal;"> (procédé négatif-positif). Dans la région de Stanstead, le daguerréotype fut en usage jusqu’en 1860, alors qu’un photographe du nom de </span><b><i>L. Ellis</i></b><span style="font-style: normal; font-weight: normal;"> annonçait encore dans le Stanstead Journal qu’il offrait des images de ce genre à son studio de </span><b>Derby Line</b><span style="font-weight: normal;">.</span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2qePLMjuyOU8aFL6N4s4vyycN7GT5P0Xz4FS3s3IPVVL_G_tILKy1_1zcGfHz8rla6euCGYfcKkEwwhSc09L74COOARn4eYuX5GZq2gHEEaVo9doBOtLGAY0BKR_Jrf6kdsyJ-U-k40/s1600/Dag+-+Moses+Colby.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2qePLMjuyOU8aFL6N4s4vyycN7GT5P0Xz4FS3s3IPVVL_G_tILKy1_1zcGfHz8rla6euCGYfcKkEwwhSc09L74COOARn4eYuX5GZq2gHEEaVo9doBOtLGAY0BKR_Jrf6kdsyJ-U-k40/s640/Dag+-+Moses+Colby.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daguerréotype anonyme, <i>Dr. Moses French Colby</i>, Stanstead vers 1850.<br />
Collection Musée Colby-Curtis</td></tr>
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Les collections du Musée Colby-Curtis et de la Société historique de Stanstead comprennent plusieurs beaux exemples de daguerréotypes, ainsi que d’autres techniques « primitives » de photographie. Malheureusement, les photographies de cet âge (plus de 150 ans) ont souvent <i>perdu la mémoire</i><span style="font-style: normal;">, l’identité des personnes représentées ayant souvent été oubliée. Littéralement devenues des </span><b><i>images fantômes</i></b><span style="font-style: normal; font-weight: normal;"> – à l’instar de celles que présentent les « miroirs » daguerriens –, ces images conservent tout de même un très grand intérêt, pour leur technique, bien sûr, mais aussi pour les costumes, coiffures, bijoux et accessoires représentés.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WSKWsfpyQQWBYzLcmeDVXYAF1ljQC9ijNwnjiWUH_oTD4AP9y9gtImk2dRTZBx76o46dI9b1-x5rTKyuiPas95aeUhSeBFnfqlLNiA1c2A6wuaUSTPq05R9mY8VNou3_TgGYhuuH390/s1600/Dag+-+Homme+gilet+raye%25CC%2581.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WSKWsfpyQQWBYzLcmeDVXYAF1ljQC9ijNwnjiWUH_oTD4AP9y9gtImk2dRTZBx76o46dI9b1-x5rTKyuiPas95aeUhSeBFnfqlLNiA1c2A6wuaUSTPq05R9mY8VNou3_TgGYhuuH390/s320/Dag+-+Homme+gilet+raye%25CC%2581.jpg" width="281" /></a><br />
À l’heure actuelle, et jusqu’au 31 mars 2011, le Musée présente une exposition temporaire intitulée « <span class="Apple-style-span" style="font-size: small;"><b>Visages en mémoire </b></span><span class="Apple-style-span" style="font-size: small;"><span style="font-weight: normal;">» qui comprend, en plus d’une sélection de portraits anciens en peinture, un assortiment de portraits photographiques du 19<sup>e</sup> siècle, dont un bel ensemble de daguerréotypes tirés de nos collections. Le musée est ouvert sur semaine, tous les jours de 13h à 17h, ou sur rendez-vous.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLCbxHcuLYyxpEHJVoCCvYUk7we_tbOqp3GRR0-AiQlqgQfAc8GisgUOMI5BiIv87EOZi9VFluo8eVvGX4x2TWIg0ii-h9ThH0_A7tQ_AQYeK-kYGpC33MRHucN1t02D8iLl8C6YwLg4k/s1600/Dag+-+Trois+fre%25CC%2580res.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLCbxHcuLYyxpEHJVoCCvYUk7we_tbOqp3GRR0-AiQlqgQfAc8GisgUOMI5BiIv87EOZi9VFluo8eVvGX4x2TWIg0ii-h9ThH0_A7tQ_AQYeK-kYGpC33MRHucN1t02D8iLl8C6YwLg4k/s640/Dag+-+Trois+fre%25CC%2580res.jpg" width="640" /></a></td></tr>
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</tbody></table></div></div><div style="text-align: right;"></div><div style="text-align: left;"></div></div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com1tag:blogger.com,1999:blog-57693342798431772.post-41965991611674895132010-11-25T17:14:00.000-05:002010-12-06T09:34:19.925-05:00Liens documentaires sur notre blogue / Documentary links on our blog<span class="Apple-style-span" style="color: #9fc5e8;"><i>(English follows)</i></span><br />
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<span class="Apple-style-span" style="color: #9fc5e8;"><i></i></span>L'une des fonctionnalités que nous avons cherché à intégrer au blogue du Musée Colby-Curtis consiste en une liste de LIENS (voir la colonne de droite, vers le bas), lesquels permettent d'accéder à une variété de sites, de documents et de bases documentaires. En cliquant sur chacun de ces liens, l'usager aura accès tantôt au site Web de la SHS et du Musée, tantôt à des informations diverses sur <b>Carrollcroft</b> -- y compris une banque de photographies d'époque, gracieuseté de Robert L. Colby --, mais aussi à des bases de données diverses. Entre autres, les chercheurs y trouveront la base de données que l'équipe du musée a réalisée sur le site industriel historique de <b>Rock Island</b>, qui compte à elle seule plus de 871 pages d'informations sur les personnalités, industries et commerces qu'on y trouvait aux 19e et 20e siècles. On trouvera aussi des liens vers d'autres sites web de musées au Québec et ailleurs.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Mi2PJRqLVDHTzlQpJHp0DJnm0yfV3twQmyGPj_pkz6FC1As0AZKVXR5EJAmJcmKxUcmvfZSF4cFwxTuNtZrzB00He4dZweDHLD-ejeqfw2KTOEFOS-dkM0IkWkjPeZuG__Tos2j9Iq4/s1600/Rock+Island+1831+-+Hague+BANC+c009460k.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Mi2PJRqLVDHTzlQpJHp0DJnm0yfV3twQmyGPj_pkz6FC1As0AZKVXR5EJAmJcmKxUcmvfZSF4cFwxTuNtZrzB00He4dZweDHLD-ejeqfw2KTOEFOS-dkM0IkWkjPeZuG__Tos2j9Iq4/s640/Rock+Island+1831+-+Hague+BANC+c009460k.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><i>Kilbourn Mills (Rock Island) en 1827. </i></b><br />
<b><i></i></b>Gravure coloriée de Hague, d'après une aquarelle de l'arpenteur Joseph Bouchette,<br />
exécutée en 1827 et publiée pour la première fois en 1832<br />
/ Colored print by Hague, from a watercolor by surveyor Joseph Bouchette,<br />
done in 1827, first published in 1832.<br />
<i>(Archives nationales du Canada / National Archives of Canada)</i></td></tr>
</tbody></table><br />
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<br />
One of the main functions we have tried to integrate in the Colby-Curtis Museum blog is a list of LINKS (see right column, towards the bottom), which allow users to access a wide variety of sites, documents and documentary databases. If you click on any of these links, you may connect either to the SHS and Museum website, or to various informations on <b>Carrollcroft</b> -- including a posting of early photographs of Carrollcroft, supplied courtesy of Robert L. Colby --, but also to several databases. Among these, researchers may find here a database that the museum staff put together on the industrial historic site of <b>Rock Island</b>, which alone yields over 871 pages of data on people, businesses and industries that occupied the site in the 19th & 20th centuries. As well, there are links to the websites of other museums in Quebec and elsewhere.Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com3tag:blogger.com,1999:blog-57693342798431772.post-61190811327891110732010-11-24T18:18:00.000-05:002010-12-19T17:29:33.088-05:00Gift of two Reaser Landscapes / Don de deux paysages de Reaser<i><span class="Apple-style-span" style="color: #9fc5e8;">(le Français suit)</span></i><br />
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Early last October, the Colby-Curtis Museum received a surprise offer for a donation, from Mrs. Harriett Carroll Beichman in Naramata, British Columbia. Herself a granddaughter of Abby Colby Aikins (1859-1943), daughter of Charles Carroll Colby, Mrs. Beichman had in her possession two painted landscapes of Stanstead scenery by artist Willbur Aaron Reaser (1860-1942), dating circa 1909. Apparently, she had been considering donating the paintings to our museum long ago, in 1997, as she was familiar with Carrollcroft -- having visited the family house in the early 1950's.<br />
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On October 19th 2010, Mrs. Beichman visited Carrollcroft on her way from B.C. to Maine, and stopped by in Stanstead for an overnight stay with her distant Colby relatives. At the Colby-Curtis Museum, she was given a grand tour of the house, to view the restorations that have been brought to the interior spaces in 2008-2009: we think she was rather pleased, yet more so to see the Willbur Reaser portraits of her grandmother Abby, and of her great-aunt Jessie whom she had met at the time of her first visits. Mrs. Beichman was also shown another landscape by Reaser, which is in close relationship to the works she has offered us (see below).<br />
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The two donated paintings show scenes of the Tomifobia valley, probably seen from a vantage point south-west of today's Stanstead road, looking towards Lake Memphremagog and showing Owl's Head in the distance. One on the paintings appears to be a close-up look of the woods and hills displayed on the top left-hand side of the other landscape, which is much wider in its view.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwf85HD6pKUS_YENP75xFsBI4OETtfvUR-8vUABSXlGgJC2pwPYZNt2h_I629VcTQQPVZ-nixmrR_ycYqn6ChcsPZuvpOEaM7YM-rvZaDJGimy8Yhz0he5WkRo995WXfX2PyRXdMyfarI/s1600/Reaser+Tomifobia+Beichman+I.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwf85HD6pKUS_YENP75xFsBI4OETtfvUR-8vUABSXlGgJC2pwPYZNt2h_I629VcTQQPVZ-nixmrR_ycYqn6ChcsPZuvpOEaM7YM-rvZaDJGimy8Yhz0he5WkRo995WXfX2PyRXdMyfarI/s320/Reaser+Tomifobia+Beichman+I.jpg" width="320" /></a>One of the landscapes was done in oils on canvas (left), while the other was painted on thick cardboard (below, right). The size of both paintings, 24" x 30" (without frame), matches another painted landscape by Reaser the Museum already had in its collection, and which was donated along with the house by Mrs. Helen Colby in 1992.<br />
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Surprisingly enough, the topic is similar, showing the Tomifobia valley at dusk from a slightly different angle: it appears that the three paintings were done at the same period, possibly as a set of works executed on the spot within a few days.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9qRy1bVcQEc5WwmWZQPLRFPIwbNY6EptcRo19FUxquqFb6nhAfW3oNkMmTBG3e4xzOCXkk7fkCRRw2gtetw6NXvipbepX-WZNnZUtHu1_t-wD8Sy-wsgrNLZJWRH8KrtryR4ny8d1Enc/s1600/Reaser+Tomifobia+Beichman+II.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9qRy1bVcQEc5WwmWZQPLRFPIwbNY6EptcRo19FUxquqFb6nhAfW3oNkMmTBG3e4xzOCXkk7fkCRRw2gtetw6NXvipbepX-WZNnZUtHu1_t-wD8Sy-wsgrNLZJWRH8KrtryR4ny8d1Enc/s320/Reaser+Tomifobia+Beichman+II.jpg" width="320" /></a></div>The condition of the paintings will require a certain degree of restoration, as they show slight defects and a century's worth of dust and grime, while the landscape on board is somewhat bulged. However, overall, the paintings are in very good condition.<br />
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From a museum's point of view, the fact of owning three paintings from what was obviously a set, of the same topic by the same painter at the same period, adds much value to all the works as a whole; more so in this case, as landscapes by Willbur Reaser from the Stanstead area are very scarce, and reveal much on his painting techniques.<br />
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These two new paintings by Reaser bring the total of the artist's works in the Colby-Curtis Museum's collection to 20, including two portraits on permanent display at Lee Farm (Ball family portraits). As such, the Colby-Curtis collection is certainly the most important holding of Willbur Aaron Reaser's works in Canada, competing with a few American museums -- <i>Blanden Memorial Art Museum</i>, Fort Dodge (Iowa), among them -- for representativity of Reaser's artworks.<br />
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We are grateful to Mrs. Carroll Beichman for this generous donation, which brings "back home" two works of art of singular importance for the Museum, as well as for the cultural history of Stanstead. The two paintings should be included in one of our summer exhibitions for 2011, which will be devoted to the theme of "Changing Landscape", including a review of our landscape collections by various artists.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVBAV4jN7dlcupjrHT_xPnfg5rbF94GsEd5c5OgAopJgFExWSIoFDfO1VTtsJethtca4SkTu5CeF0XzXPZeDqp29qhPd2b76mNLRwwwl3VxV-5qOmCdLPlj2MkNCQoIKJFrzwcT6S1QMs/s1600/REASER+-+Valley+Tomifobia+-+lt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVBAV4jN7dlcupjrHT_xPnfg5rbF94GsEd5c5OgAopJgFExWSIoFDfO1VTtsJethtca4SkTu5CeF0XzXPZeDqp29qhPd2b76mNLRwwwl3VxV-5qOmCdLPlj2MkNCQoIKJFrzwcT6S1QMs/s640/REASER+-+Valley+Tomifobia+-+lt.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Willbur Aaron Reaser, <i>Tomifobia Valley at dusk</i>, ca 1909; oil on heavy cardboard, 24" x 30".</td></tr>
</tbody></table><br />
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Au début du mois d'octobre, le Musée Colby-Curtis recevait une offre surprise pour un don, en provenance de madame Harriett Carroll Beichman de Naramata, Columbie-Britannique. Elle-même la petite-fille de Abby Colby Aikins (1859-1943), fille ainée de Charles Carroll Colby, madame Beichman avait en sa possession deux tableaux représentant des paysages de Stanstead par l'artiste américain Willbur Aaron Reaser (1860-1942), réalisés vers 1909. Apparemment, elle considérait en faire don au musée depuis 1997, étant familière avec Carrollcroft -- ayant visité la maison de ses ancêtres au début des années 1950.<br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Le 19 octobre 2010, madame Beichman est venue visiter Carrollcroft, sur sa route depuis la Colombie-Britannique vers le Maine, pour s'arrêter à Stanstead où elle séjournait chez des parents lointains de la famille Colby. Au Musée Colby-Curtis, on lui fit faire "le tour du propriétaire" dans la maison, pour voir les restaurations qui furent apportées aux espaces intérieurs en 2008-2009 : nous pensons que ces changements lui ont plu, mais peut-être pas autant que de voir les portraits peints par Willbur Reaser de sa grand-mère Abby, et de sa grande-tante Jessie qu'elle avait connue lors de ses premières visites à Carrollcroft. Madame Beichman se fit également montrer un autre paysage peint par Reaser, qui se trouve être un proche parent des oeuvres qu'elle nous a offertes us (voir plus bas).</div><br />
Les deux peintures qui nous ont été offertes montrent des aspects de la vallée de la rivière Tomifobia, probablement peints depuis une hauteur au sud-ouest de l'actuel Chemin de Stanstead, en regardant vers le lac Memphrémagog et montrant le mont Owl's Head en arrière-plan. L'un des tableaux semble être une vue rapprochée des boisés et collines qu'on observe dans le haut, à gauche dans l'autre paysage, qui couvre un panorama beaucoup plus vaste.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Le premier de ces paysages fut peint à l'huile sur toile (à gauche), alors que le second fut exécuté sur un carton épais (ci-dessous, à droite). Le format des deux tableaux est identique, 24" x 30" (sans cadre), ce qui correspond à un autre paysage peint par Reaser que le musée possédait déjà dans sa collection, et qui nous fut donné par madame Helen Colby avec la maison, en 1992.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">De façon assez surprenante, le thème en est le même, montrant la vallée de la Tomifobia à la brunante depuis un angle légèrement différent : il semble bien que les trois tableaux furent réalisés à la même époque, formant possiblement un ensemble exécuté <i>sur le motif</i> en quelques jours.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">L'état des tableaux exigera un certain degré de restauration, car ils comportent des détériorations et les traces d'un siècle de poussière et de saletés, tandis que le paysage sur carton est quelque peu bombé. Dans l'ensemble, toutefois, les peintures sont en assez bon état. Du point de vue d'un musée, le fait de réunir trois tableaux de ce qui fut à l'évidence un ensemble, du même sujet par le même peintre à la même époque, ajoute beaucoup d'intérêt aux oeuvres ainsi groupées; plus encore dans ce cas, car les paysages de Willbur Reaser montrant le secteur de Stanstead sont plutôt rares, et révèlent beaucoup sur son approche picturale en la matière.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwf85HD6pKUS_YENP75xFsBI4OETtfvUR-8vUABSXlGgJC2pwPYZNt2h_I629VcTQQPVZ-nixmrR_ycYqn6ChcsPZuvpOEaM7YM-rvZaDJGimy8Yhz0he5WkRo995WXfX2PyRXdMyfarI/s1600/Reaser+Tomifobia+Beichman+I.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwf85HD6pKUS_YENP75xFsBI4OETtfvUR-8vUABSXlGgJC2pwPYZNt2h_I629VcTQQPVZ-nixmrR_ycYqn6ChcsPZuvpOEaM7YM-rvZaDJGimy8Yhz0he5WkRo995WXfX2PyRXdMyfarI/s200/Reaser+Tomifobia+Beichman+I.jpg" width="200" /></a></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Ces deux nouveaux tableaux de Reaser amènent à 20 le nombre total des oeuvres de l'artiste au Musée Colby-Curtis, y compris deux portraits exposés en permanence au Domaine Lee Farm (portraits de la famille Ball). À cet égard, la collection Colby-Curtis compte certainement parmi les plus importantes de l'oeuvre de Willbur Aaron Reaser au Canada, au moins à l'égal de quelques musées américains -- notamment, le <i>Blanden Memorial Art Museum</i>, de Fort Dodge, en Iowa -- quant à la représentation du travail de Reaser.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9qRy1bVcQEc5WwmWZQPLRFPIwbNY6EptcRo19FUxquqFb6nhAfW3oNkMmTBG3e4xzOCXkk7fkCRRw2gtetw6NXvipbepX-WZNnZUtHu1_t-wD8Sy-wsgrNLZJWRH8KrtryR4ny8d1Enc/s1600/Reaser+Tomifobia+Beichman+II.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9qRy1bVcQEc5WwmWZQPLRFPIwbNY6EptcRo19FUxquqFb6nhAfW3oNkMmTBG3e4xzOCXkk7fkCRRw2gtetw6NXvipbepX-WZNnZUtHu1_t-wD8Sy-wsgrNLZJWRH8KrtryR4ny8d1Enc/s200/Reaser+Tomifobia+Beichman+II.jpg" width="200" /></a>Nous sommes sincèrement reconnaissants envers madame Carroll Beichman pour ce don si généreux, qui ramène "à la maison" deux oeuvres d'art d'une importance singulière pour le musée, ainsi que pour l'histoire culturelle de Stanstead. Les deux paysages devraient être incorporés à l'une de nos expositions d'été en 2011, qui seront consacrées au thème du "Paysage en mouvement", lesquelles comprendront entre autres un tour d'horizon sur nos collections de paysages par divers artistes.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
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</div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-27754698439513568222010-11-23T15:31:00.000-05:002010-12-14T15:54:54.873-05:00Publication sur Carrollcroft / New Journal on Carrollcroft<i><span class="Apple-style-span" style="color: #9fc5e8;">(English follows)</span></i><br />
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Le 23 octobre dernier, avait lieu au Musée Colby-Curtis le lancement officiel d'un numéro spécial du <i><b>Journal de la Société historique de Stanstead</b></i>, réalisé conjointement avec la <b><i>Revue d'Études des Cantons de l'Est</i></b> (RECE), publiée par le Centre de Ressources pour l'Étude des Cantons de l'Est à l'université Bishops.<br />
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Entièrement consacré à Carrollcroft -- siège social du Musée et de la SHS --, cette publication remarquable regroupe des contributions particulièrement intéressantes de six auteurs différents, portant sur divers aspects de l'histoire de la maison :<br />
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• <b><span class="Apple-style-span" style="color: #93c47d;">Carrollcroft in context</span></b> (par D'Arcy Ryan)<br />
L'article relate le cadre historique des années 1850-1860, durant lequel la famille Colby fait construire sa résidence Carrollcroft à Stanstead, aux plans local, régional et national.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2KyX1VSsxGtGDqac80EPGZI142wa2Ztpfx2ssTNuwu1mMt2WjZAi1h3kEZ90YfKqfOOKlZSoFOBi8E3eu0WX1uuqv_4EHbhUq4IZKMT7nAcu_NGBGxLY_ADv-Gy1ndMuWUHNntwTDck/s1600/JETS+-+SHS+-+couv..jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2KyX1VSsxGtGDqac80EPGZI142wa2Ztpfx2ssTNuwu1mMt2WjZAi1h3kEZ90YfKqfOOKlZSoFOBi8E3eu0WX1uuqv_4EHbhUq4IZKMT7nAcu_NGBGxLY_ADv-Gy1ndMuWUHNntwTDck/s320/JETS+-+SHS+-+couv..jpg" width="208" /></a>• <b><span class="Apple-style-span" style="color: #93c47d;">Carrollcroft as Women's Space: An Architectural History</span></b> (Annmarie Adams et Sylvia Spampinato)<br />
Les auteurs procèdent à l'analyse des espaces de la maison, démontrant comment Carrollcroft fut d'abord et avant tout conditionnée par l'intervention et les activités des femmes de la maison, Hattie, Abby et Jessie en particulier.<br />
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<b>• <span class="Apple-style-span" style="color: #93c47d;">Art, Gentility and Family Memory: Willbur Reaser's Paintings for Carrollcroft</span></b> (Robert G. Colby)<br />
Un tour d'horizon sur les oeuvres du peintre américain Willbur Reaser, réalisées pour la famille Colby durant de nombreux séjours de l'artiste à Stanstead, et conservées au Musée Colby-Curtis. L'auteur expose de façon brillante comment ces oeuvres ont contribué à la construction de l'identité sociale et familiale des Colby, telle que perçue au sein des murs de Carrollcroft.<br />
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• <b><span class="Apple-style-span" style="color: #93c47d;">Helen Lovat Colby et </span></b><i><b><span class="Apple-style-span" style="color: #93c47d;">Carrollcroft</span></b></i><b><span class="Apple-style-span" style="color: #93c47d;"> : le don d'un important patrimoine familial à la collectivité</span></b> (Monique Nadeau-Saumier)<br />
Comment et pourquoi la famille Colby, par l'intermédiaire de madame Helen Colby, a oeuvré pour que Carrollcroft soit conservée pour la postérité, et devienne en 1992 le point focal du Musée Colby-Curtis et de la Société historique de Stanstead.<br />
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• <b><span class="Apple-style-span" style="color: #93c47d;">Un trésor méconnu des Cantons de l'Est : les Archives de la Société historique de Stanstead</span></b> (Karl Bourassa)<br />
Une recension du matériel archivistique conservé à la <i>Société historique de Stanstead</i>, dans le centre d'archives de la SHS à Carrollcroft.<br />
<br />
• <b><span class="Apple-style-span" style="color: #93c47d;">Ordinary Stanstead, Extraordinary Lives: Holdings of the ETRC Archives on the County and its People</span></b> (Raymond Cromwell Frizzell)<br />
Survol des fonds d'archives concernant Stanstead, conservés au <i>Centre de Ressources pour l'étude des Cantons de l'Est</i>, à l'université Bishops.<br />
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Ce numéro spécial du SHS Journal et de JETS constitue une mine de renseignements inédits et d'interprétations novatrices quant à l'histoire de Carrollcroft, de la famille Colby et de Stanstead dans son ensemble. Témoignant d'une collaboration réussie entre la SHS et le CRCE, sous la direction des professeurs Jean Manore et Peter Southam, cette initiative conjointe marque une étape importante dans l'histoire de la Société historique de Stanstead, et demeurera sans doute longtemps une référence incontournable pour l'histoire locale et régionale.<br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Le Journal est disponible au Musée Colby-Curtis, au coût de 15 $ l'exemplaire (prix spécial de lancement). On peut le commander (frais de poste en sus) en téléphonant au 819-876-7322.</div><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc03KdCo4R8rCsna34WiRt_0KkyHaNxbswOsIIWfzHdisKzOLRvkTENJV9Xy-qG32oPTLp5W8ShGBZ0nfkG0wpr4sLdIWgWr2n7cFXn8G64gqLSmnt39qbzbH14VW31HIukU24Yibkn08/s1600/Lancement+JETS+-+groupe.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc03KdCo4R8rCsna34WiRt_0KkyHaNxbswOsIIWfzHdisKzOLRvkTENJV9Xy-qG32oPTLp5W8ShGBZ0nfkG0wpr4sLdIWgWr2n7cFXn8G64gqLSmnt39qbzbH14VW31HIukU24Yibkn08/s640/Lancement+JETS+-+groupe.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Au lancement du numéro spécial du Journal SHS / JETS : de gauche à droite,<br />
Les auteurs Annmarie Adams, Silvia Spampinato, Monique Nadeau-Saumier et D'Arcy Ryan,<br />
les éditeurs Jean Manore et Peter Southam, Claude Charpentier de JETS,<br />
et la présentatrice Ann Montgomery, présidente de la SHS.<br />
<br />
At the launch of the special issue of the SHS / JETS Journal : left to right,<br />
authors Annmarie Adams, Silvia Spampinato, Monique Nadeau-Saumier and D'Arcy Ryan,<br />
guest editors Jean Manore and Peter Southam, Claude Charpentier from JETS,<br />
and presentator Ann Montgomery, president of the SHS.</td></tr>
</tbody></table><br />
<br />
On October 23rd, was held at the Colby-Curtis Museum the official launch of a special issue of the<i><b> Stanstead Historical Society Journal</b></i>, jointly published with the <b><i>Journal of Eastern Townships Studies</i></b> (JETS), issued by the Eastern Townships Resource Center at Bishop's University.<br />
<br />
Entirely devoted to Carrollcroft -- headquarters of the Museum and the SHS --, this remarkable publication brings together contributions of great interest by six different authors, regarding various aspects of the history of our house :<br />
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</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">• <b><span class="Apple-style-span" style="color: #93c47d;">Carrollcroft in context</span></b> (by D'Arcy Ryan)</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">This article reviews the historical context of years 1850-1860, at which time the Colby family had its residence built in Stanstead, from local, regional and national viewpoints.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2KyX1VSsxGtGDqac80EPGZI142wa2Ztpfx2ssTNuwu1mMt2WjZAi1h3kEZ90YfKqfOOKlZSoFOBi8E3eu0WX1uuqv_4EHbhUq4IZKMT7nAcu_NGBGxLY_ADv-Gy1ndMuWUHNntwTDck/s1600/JETS+-+SHS+-+couv..jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2KyX1VSsxGtGDqac80EPGZI142wa2Ztpfx2ssTNuwu1mMt2WjZAi1h3kEZ90YfKqfOOKlZSoFOBi8E3eu0WX1uuqv_4EHbhUq4IZKMT7nAcu_NGBGxLY_ADv-Gy1ndMuWUHNntwTDck/s320/JETS+-+SHS+-+couv..jpg" width="208" /></a>• <b><span class="Apple-style-span" style="color: #93c47d;">Carrollcroft as Women's Space: An Architectural History</span></b> (Annmarie Adams and Sylvia Spampinato)</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Authotrs analyse the spaces of the house, demonstrating how Carrollcroft was above all conditioned by the tastes and activities of the women of the family, Hattie, Abby and Jessie in particular.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b>• <span class="Apple-style-span" style="color: #93c47d;">Art, Gentility and Family Memory: Willbur Reaser's Paintings for Carrollcroft</span></b> (Robert G. Colby)</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">A survey of works by American painter Willbur Reaser, created for the Colby family during numerous stays of the artist in Stanstead, and preserved at the Colby-Curtis Museum. The author discusses how these works participated in the construction of a social and family identity for the Colbys, as displayed within the walls of Carrollcroft.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">• <b><span class="Apple-style-span" style="color: #93c47d;">Helen Lovat Colby et </span></b><i><b><span class="Apple-style-span" style="color: #93c47d;">Carrollcroft</span></b></i><b><span class="Apple-style-span" style="color: #93c47d;"> : le don d'un important patrimoine familial à la collectivité</span></b> (Monique Nadeau-Saumier)</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">How and why the Colby family, through the intercession of Mrs. Helen Colby, has endeavoured to preserve Carrollcroft for the community, becoming in 1992 the focal point of the Colby-Curtis Museum and of the Stanstead Historical Society.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">• <b><span class="Apple-style-span" style="color: #93c47d;">Un trésor méconnu des Cantons de l'Est : les Archives de la Société historique de Stanstead</span></b> (Karl Bourassa)</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">A survey of the rich archival resources preserved by the<i> Stanstead Historical Society</i>, in the SHS Archives at Carrollcroft.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">• <b><span class="Apple-style-span" style="color: #93c47d;">Ordinary Stanstead, Extraordinary Lives: Holdings of the ETRC Archives on the County and its People</span></b> (Raymond Cromwell Frizzell)</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Survey of the archives regarding the county of Stanstead, preserved in the <i>Eastern Townships Resource Center</i>, at Bishop's University.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">This special joint issue of the SHS <i>Journal</i> and of JETS offers a wealth of unpublished information and innovative interpretations on the history of Carrollcroft, of the Colby family and of Stanstead in general. Bearing witness to a close regional collaboration between the SHS and the ETRC, under the editorship of professors Jean Manore and Peter Southam, this joint initiative marks a timely moment in the history of the Stanstead Historical Society, and will no doubt stand as a durable reference for local and regional history.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The Journal can be obtained at the Colby-Curtis Museum, at a cost of $15. a copy (special launch price). It may be ordered (postage extra) by calling 819-876-7322.</div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-30035991737381948782010-11-22T18:45:00.000-05:002011-01-03T14:49:30.263-05:00Conférence sur la reliure d'art / Lecture on art bookbinding<i><span class="Apple-style-span" style="color: #9fc5e8;">(English follows)</span></i><br />
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En marge de sa nouvelle exposition intitulée: "<b>La reliure d'art : autres temps, autres manières</b>", le Musée Colby-Curtis présente, le <u><i>samedi 27 novembre 2010 à 13h3</i></u><i><u>0</u></i>, une conférence-démonstration de l'artiste relieure <b>Louise Mauger</b>, résidant à Georgeville. La conférence portera principalement sur l'approche inusitée de la relieure, dont l'oeuvre se caractérise entre autres par son travail délicat des peaux de poissons et des cuirs exotiques, mais aussi, par son esthétique contemporaine et sa démarche thématique, fortement inspirées de sa formation antérieure en anthropologie.<br />
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Active en reliure d'art depuis plus d'une douzaine d'années, Louise Mauger a acquis une bonne notoriété au Québec et en Europe pour son travail soigné et imaginatif, au fil de plusieurs expositions individuelles et collectives, à Québec, Lévis, Gatineau, Montréal, Gaspé, Rimouski, Rivière-du-Loup et Kamouraska, mais aussi en Belgique et en France. En 2007, le magazine international <i>Art et Métiers du Livre</i> lui consacrait un important article (Paris, AML no 263, déc. 2007-jan. 2008), sans compter qu'elle a obtenu plusieurs bourses et prix pour sa création en reliure.<br />
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La conférence aura lieu au Musée même, dans la maison <b><i>Carrollcroft</i></b>. Le coût d'admission à la conférence sera de <b><i>10 $ pour les membres</i></b> de la Société historique de Stanstead, et de 15 $ pour les non-membres. Des rafraichissements seront servis. Pour informations et réservations, SVP téléphoner au (819) 876-7322.<br />
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Suite à sa conférence, la relieure Louise Mauger accompagnera les visiteurs pour commenter l'exposition, dont le <b>vernissage</b> aura lieu vers <b>15h00</b> le même jour.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQCO_4FnChRmi-7AuTqzdzp_5V4e4wOlm6WjwfUJOuz-yLctI6GXUFNS54uNa6hoxCukvc9SUbvV-yfC-4sd30MPSPUmd18Ku32nc2YIylRQc2hQtNo079Ep2nkH0Zsxjw1Lne163v0dY/s1600/07+Zoloe%25CC%2581+et+ses+acolytes.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQCO_4FnChRmi-7AuTqzdzp_5V4e4wOlm6WjwfUJOuz-yLctI6GXUFNS54uNa6hoxCukvc9SUbvV-yfC-4sd30MPSPUmd18Ku32nc2YIylRQc2hQtNo079Ep2nkH0Zsxjw1Lne163v0dY/s640/07+Zoloe%25CC%2581+et+ses+acolytes.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="color: #783f04;">Louise Mauger : </span></span><b><span class="Apple-style-span" style="color: #783f04;">Zoloé et ses deux acolytes</span></b><span class="Apple-style-span" style="color: #783f04;">,</span></i><span class="Apple-style-span" style="color: #783f04;"> reliure de 2004.<br />
Mosaïque de peaux d'anguilles et autres cuirs / Eel skin mosaïc with other leathers. </span></td></tr>
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In the course of its new exhibition: "<b>Art Bookbinding: other times, other ways</b>", the Colby-Curtis Museum presents, <i><u>Saturday November 27th, 2010 at 1:30 p.m.</u></i>, a talk and demonstration by bookbinding artist <b>Louise Mauger</b>, a resident of Georgeville. The talk will mainly focus on the binder's unusual approach to the craft which, among other aspects, distinguishes her work through the delicate use of fish skins and other exotic leathers, and as well, by contemporary visuals and a thematic apporoach of her own, much inspired by her former training in cultural anthropology.<br />
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</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Active in bookbinding art for the past 15 years or so, Louise Mauger has gained an enviable exposure in Québec and in Europe for her outstanding skill and creativity, through a number of individual and group exhibitions, in Québec City, Lévis, Gatineau, Montréal, Gaspé, Rimouski, Rivière-du-Loup and Kamouraska, and also in Belgium and France. In 2007, the international magazine <i>Art et Métiers du Livre</i> devoted an important article to her work (Paris, AML no 263, dec. 2007-jan. 2008), not to speak of several grants and prizes she received for her bookbinding creations.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The lecture will be held at the Museum premises, in <b><i>Carrollcroft</i></b>. Admission to the talk will be<i><b> $ </b></i><b><i>10. for members</i></b> of the Stanstead Historical Society, and <i><b>$ </b></i><b><i>15.</i></b> for non-members. Refreshments will be served.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">For information & reservations, please call (819) 876-7322.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div>Following her talk, binder Louise Mauger will assist visitors in commenting the exhibition, for which the <b>vernissage</b> will be held around <b>3:00 p.m.</b> the same day.Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com0tag:blogger.com,1999:blog-57693342798431772.post-36279763700080946152010-11-21T13:24:00.000-05:002011-01-04T11:46:27.384-05:00Un nouveau blogue pour le Musée Colby-Curtis / New blog for the Colby-Curtis Museum<i><span class="Apple-style-span" style="color: #9fc5e8;">(English follows)</span></i><br />
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Initié par la <i>Société historique de Stanstead</i> (SHS) à la fin des années 1950, le Musée Colby-Curtis a occupé divers emplacements avant d'être implanté définitivement en 1992 dans la maison historique <i><b>Carrolcroft</b></i>, située au 535 de la rue Dufferin au coeur du village de Stanstead.<br />
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Donnée à la SHS par la famille Colby (à l'instigation de madame Helen Lovat Colby), cette élégante maison de style "italianisant" fut construite en 1858-1860, en granit de taille extrait des carrières locales. Elle logea durant quatre générations la famille et les descendants de Charles Carroll Colby (1827-1907), un avocat et entrepreneur local qui deviendra, en 1867, député du comté de Stanstead à la Chambre des Communes, un poste qu'il occupa jusqu'en 1891.<br />
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Depuis 1992, la maison est devenue le siège social de la Société historique de Stanstead, de son centre d'archives et du Musée Colby-Curtis. Au moment de sa donation à la SHS, Carrollcroft comprenait une grande partie du mobilier, des accessoires, des archives et des oeuvres d'art que la famille Colby avait accumulés depuis plus de 120 ans, venant ainsi enrichir une collection déjà importante qu'avait constituée la SHS depuis sa fondation en 1929. Ces collections et ces archives forment désormais un patrimoine régional du plus grand intérêt, accessible aux chercheurs, aux étudiants et autres amateurs d'histoire, mais aussi au grand public, par le biais du Musée Colby-Curtis.<br />
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Dans ce nouveau blogue, nous nous proposons d'explorer le contenu de ces collections et archives, au fil des thèmes historiques et culturels qui intéressent le Musée, mais aussi au gré des nouvelles acquisitions qui s'ajoutent de temps à autre à nos collections. Le blogue du MCC aura également pour fonction d'informer nos membres et le public visiteur, quant aux expositions, publications, conférences et autres activités que génèrent le Musée et la Société historique de Stanstead.<br />
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Dans la mesure du possible, notre blogue se voudra bilingue (français et anglais), de façon à respecter la dualité linguistique qui caractérise notre région et notre histoire et, aujourd'hui, le profil démographique du comté de Stanstead. Les textes présenté ici seront autant que possible présentés dans les deux langues, bien qu'il arrivera parfois qu'on alterne entre le français et l'anglais suivant les thèmes abordés -- mais également, selon le temps dont nous disposerons. La fréquence de nos interventions sur ce blogue pourra sans doute varier, mais nous espérons ajouter de nouveaux contenus au moins une ou deux fois la semaine : revenez nous voir régulièrement pour ne rien manquer des sujets présentés.<br />
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Bonne lecture à tous ! Parlez de notre blogue à vos amis, et surtout, n'hésitez pas à nous faire parvenir vos commentaires et suggestions.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span class="Apple-style-span" style="color: #274e13;"><span class="Apple-style-span" style="font-size: small;">Carrollcroft</span></span></b><span class="Apple-style-span" style="color: #274e13;"><span class="Apple-style-span" style="font-size: small;">, dessin / drawing by </span></span><b><i><span class="Apple-style-span" style="color: #274e13;"><span class="Apple-style-span" style="font-size: small;">Gael Eakin</span></span></i></b><span class="Apple-style-span" style="color: #274e13;"><span class="Apple-style-span" style="font-size: small;">, 2003</span></span></td></tr>
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<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Initiated by the<i> Stanstead Historical Society</i> (SHS) in the late 1950's, the Colby-Curtis Museum occupied various locations before it was permanently moved in 1992 into the historical <i><b>Carrolcroft</b></i>, located at 535, Dufferin Rd. at the very heart of the Town of Stanstead. </div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Donated to the SHS by the Colby family (at the initiative of Mrs. Helen Lovat Colby), this elegant mansion in the "italianate" style was built in 1858-1860, of square-hewn granite blocks extracted from local quarries. Over four generations, it housed the family and descendants of <i><b>Charles Carroll Colby</b></i> (1827-1907), an attorney and local entrepreneur who became, in 1867, a member of Parliament as the representative for Stanstead County in the House of Commons, a position he maintained until 1891. </div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Since 1992, the house has become the headquarters of the Stanstead Historical Society, of its archive center and of the Colby-Curtis Museum. At the time it was donated to the SHS, Carrollcroft came along with a large portion of the furniture, accessories, archives and artworks that the Colby family had accumulated over some 120 years, thus enlarging considerably an already important collection that the SHS had gathered since its foundation in 1929. These collections and archives nowadays represent a regional heritage of the utmost interest, available for researchers, students and other history buffs, but also to the general public through the Colby-Curtis Museum. </div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">In this new blog, we hope to explore the content of our collections and archives, following various historical and cultural themes that are of concern to the Museum, but also topics prompted by new acquisitions which add from time to time to our collections. This MCC blog also holds the purpose to inform our members and the visiting public, regarding exhibitions, publications, lectures and other activities that the Museum and the SHS generate throughout the year.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">AS much as possible, our blog will maintain a bilingual content (French and English), in order to match the linguistic duality which has always impregnated our region and history, and as well, today's demographic profile for Stanstead county. Materials submitted here will be offered in both languages as often as possible, yet it may happen that we'll alternate French or English contents for specific topics -- but also, depending on the worktime available at the moment of posting. Frequence of posting may vary, but we expect to add new content once or twice a week: please visit our blog regularly to keep up with new material we'll be offering.</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Pleasant reading to all ! Speak of our blog to your friends, but also, please don't hesitate to send in your comments and suggestions.</div>Pierre Rastoulhttp://www.blogger.com/profile/01445252294665001336noreply@blogger.com2