ERNST NEUMANN Old Courthouse, Dominion Square and Its Caleches, As Well As the Neumann Was Born in Budapest, Quaint, Ram Shackle Wood Structure of May 1907

The WestmountNEWSLETTEROFTHE WESTMOUNT HISTORICAL HistorianASSOCIATION continuedErnst fromNeumann page 1 ing $3.50 for a print, $5.50 framed. VOLUME 4 NUMBER 1 SEPTEMBER 2003 These rates applied to what were called his Bread and Butter prints, scenes of Montreal that included har- bour scenes, Bonsecours Market, the ERNST NEUMANN Old Courthouse, Dominion Square and its caleches, as well as the Neumann was born in Budapest, quaint, ram shackle wood structure of May 1907. His life in Montreal, where Milloy’s Bookstore on Ste. Catherine he arrived in 1912, was one of poverty Street. Neumann would sketch direct- and caring for his ill mother. Those ly onto copper plates, even while sit- two factors instilled in him both bit- ting in the snow on cold days. terness and a compassion that spoke His en plein air approach to image- through his prints. The last in a series making often garnered him an audi- of studios was on Greene Avenue near ence. He was especially exasperated Ste-Catherine Street, sharing the premises with friend and colleague, by the well meaning souls who ERNST NEUMANN WEST END GALLERY asked him, as he regarded his sub- Goodridge Roberts. Neumann sus- ject in a mirror to correctly render it tained himself financially with prints on a plate backwards (since it prints of Montreal and society portraits but the other way), “Wouldn’t it be easier THE RAVEN OF SAINT ANTHONY his preferred subjects were victims of to look directly at your subject?” the Depression, society’s outcasts and The Raven inside the small shield on the Westmount Coat of Arms Neumann’s last year saw him off to satires on the judicial system. commemorates the Legend of the Ravens who fed Saint Anthony by France on a fellowship. Only two of He attended the Ecole des Beaux- his paintings were purchased by dropping bread into his place of refuge when he chose to live a solitary Arts and was a member of the Art As - External Affairs in Ottawa. The lack of hermit’s life. From 1879 to 1894, for fifteen soc ia tion of Montreal. Edwin Holgate recognition he received throughout years, Westmount was called Côte Saint- was one his instructors, influencing his career disappointed Neumann, Antoine, a continuation of the early name for Neumann with his wood engravings. but on the downtrodden, he lavished the land. At first it was the Village of Côte Neumann often produced prints that tenderness. He never finished his fel- Saint-Antoine, then in 1890, it became the were not for commercial consumption lowship year, felled by a heart attack Town of Côte Saint-Antoine. and among these were multiple- in Vence, France in March, 1956 and The raven was chosen to represent West - image studies that repeated the same figure at different angles and poses on his Montreal artist-friends exhumed mount in the Mosaiculture Inter national, one page. For these studies, Neumann the body and brought it back to Mont- when Westmount and the other seven- 2003 uses his lithographic stone like a real where it rests under a stone that teen boroughs of the new City of Montreal says, “Ernst Neumann – artist pein- sketch pad. It is notable that he ap - were invited to participate in the “Concours tre... He created beauty all his years/ pren ticed in a lithography shop in the Inter-arrondissements de Mosaicultures” The 500 pound sculpure took Fondly remembered by his friends. early 1920s. His other printmaking Edited and printed with kind per- Howard Ransom, a welder with the city, three weeks to construct. Then media were chine collé, etching and mission from Pompei Dimembro and Mélanie Bànninger, both gardeners with the city, woodcut. The Montreal Print Col - Written by Heather inserted small plants into the metal structure in the traditional Topiary Neumann made and exhibited lec tors Society. prints into the early 1950s, parallel to Solomon-Bowden. The West End style. This is our first 3-dimensional crest. The City crest and the clock ERNST NEUMANN WEST END GALLERY Gallery on Greene Avenue carries the are long standing 2-dimensional crests. his career as a painter. At the time, work of Ernst Neumann. The City of Westmount was the first Canadian City to obtain a coat of there were only four art galleries in 1930 and 1935, was the plight of the University as artist-in-residence. Neu - Montreal and artists not producing unemployed. mann did most of the teaching while (Answers to quiz on page 8) arms from Lord Lyon King of Arms (Edinburg, Scotland) on May 12th, 1945. The City obtained a patent of registration for the coat of arms with academic work created their own In 1936, Goodridge Roberts and Roberts offered painting and drawing focus. Neumann illustrated for left- Neumann opened the Roberts-Neu - demonstrations. The school closed Photograph Dates: the Canadian Heraldic Authority on 15th of February, 2001. Photo no. 1 – 1890, wing publications like New Frontier. mann School of Art following just three years later. The lady’s hairstyle; DOREEN LINDSAY JULY, 2003 Neumann’s main subject, between Roberts‚ three-year stint at Queens In the 1940s, Neumann was charg- Photo no. 2 – 1913, Men’s neckwear.

continued on page 8 THE WESTMOUNT HISTORIAN PAGE 8 WHOSE STYLE IS IT ANYWAY? The Westmount PRESIDENT’S MESSAGE Historian Westmount has been home to me for forty years. When I first moved NEWSLETTER OF THE WESTMOUNT here, it seemed very far from the centre of Montreal. It must have felt the A friend, recently re turned Italian artist from Prato, near HISTORICAL ASSOCIATION same to the first inhabitants, 300 years ago, who came up the slopes of the from Europe, was lamenting the Flor ence. mountain to settle and farm here. They travelled north-west, away from lack here of buildings of artistic Of special interest is the apse the over-crowded original settlement of Ville Marie, looking for fresh air and historical interest. with its al fresco paintings. This September 2003 and better farm land. It is true we do not have very technique of applying paint Volume 4 • Number 1 Over the years, Westmount has slowly seeped into my awareness. First ancient buildings and the build- directly on fresh plaster was as a parent, then as exhibition coordinator with Arts Westmount. It was ing styles we see around us well known in the Ren aissance during the panel discussion that I organized on Westmount’s Heritage as have their roots, for the most and learned by Nincheri in his EDITOR: part of the 1994 exhibition that the Westmount part, in other countries and home town. My particular Flora-Lee Wagner Westmount Photographs Historical Association sprang to life again after a few years of hibernation. other cultures, but it can be fas- delight are the wood carvings, Aline Gubbay held the chair as President while she was writing A View of cinating to identify the similari- dispersed throughout the build- . After her term ended, Flora-Lee Wagner energetically took over Their Own ties and highlight the differ- ing, but there is so much to CONTRIBUTORS: the chair for three years until 2003. Now, I have been asked to guide the Caroline Breslaw, ences so that we may arrive at a study and admire. Aline Gubbay, Doreen Lindsay, Westmount Historical Association for the next two years. picture of what makes them On the same block of land as Heather Solomon-Bowden – M.P.C.S. Westmount has a special and unique identity. Although it is changing particularly ours. St. Leo’s, stands the Church of along with other urban areas, I do not want it to lose its quiet charm and I asked my friend to come for the Ascen sion. We jump several grace. Only 10 years after the WHA was originally formed in 1944, then a walk, as I live within a block centuries to arrive at the 14th WESTMOUNT HISTORICAL ASSOCIATION Vice-President, Alice Whitehall, saved our oldest extant farmhouse from of two Catholic churches, each a century inspiration for this fine BOARD OF DIRECTORS demolition. We are again presented with the problem of how to integrate fine example of two strikingly example of Gothic revival archi- this same 1739 Hurtubise fieldstone house into our lifestyle. Doreen Lindsay, President different architectural styles. St. tecture. Flora-Lee Wagner, Past President We have inherited many significant buildings. Two thirds of our Leo’s was founded early in the Built in the 1930s during the Caroline Breslaw, Vice-President Westmount buildings are considered to be of exceptional heritage quality. 20th century but radically Depression, the congregation Barbara Covington, Archivist The Victorian, Edwardian and often eclectic architecture of the large David Freeman, Treasurer altered in the 1920s in a robust had financial problems from the Andy Dodge, Secretary homes, the rhythmic repetition of row housing, all these continue to please Romanesque style. This 11th onset yet managed to produce a Elizabeth Henrik, Membership the eye and delight the owners. Collecting and preserving the early century style was itself, as its strikingly beau ti ful building. Its Anne Barkman experiences of the people who lived here before us enables us to under- name suggests, a revival of PHOTO ALINE GUBBAY tower is modelled on two Joan Clark stand the value of existing buildings, so that we may imaginatively main- Philip Dombowsky Roman forms focused around famous prototypes, among oth- Peter Lanken tain our heritage. DOREEN LINDSAY the Roman arch. It was revived ers, Magdalen College, Oxford Richard Lord in various forms over the years and and Worcester Cath edral, but it is here John Sancton owes its vigorous 19th century revival the product of a 20th century Gothic FALL LECTURE SERIES, 2003 to an American architect, Henry revival, led by several Amer ican Hobson Richardson. He urged the architects and fuel led by a lingering WESTMOUNT HISTORICAL ASSOCIATION P. O. Box 198 Victoria Station use, wherever possible, of local build- attachment to William Morris and his Westmount, Quebec Words and Images ing materials, such as those of St. medieval research. The church is set in H3Z 2Y6 Leonard Cohen, A.Y. Jackson, Mordecai Richler, and Mary Meigs: Leo’s, quarried from regional stone. an ample green space, reinforcing the Four of the many Westmounters who have made a huge impact on our With its soaring bell tower, St. Leo’s aura of an English country town. cultural life and also helped shape Canadian identity. E-MAIL: would transplant comfortable onto a The Gothic style of the 14th century [email protected] Thursday, September 25, 2003 – Tuscan hillside. was already a revival of two centuries Speaker: Terry Rigelhof But St. Leo’s special claim to fame earlier, with each century adding ele- WEBSITE: Leonard Cohen’s Westmount – www.westmounthistorical.org Thursday, October 16, 2003 – is its interior. Classified as a heritage ments, both exotic and home grown to Speaker: Wayne Larsen property in 1999 by the Historic Sites the mixture of influences. A.Y. Jackson in Westmount – ISSN: and Monuments Board of Canada, My friend was sufficiently intrigu - 1496-4066 Thursday, November 20, 2003 – Speaker: Joel Yanofsky this remarkable space is an integrated ed by what she had seen that she sug- GRAPHIC DESIGN: Mordecai Richler was here – mix of materials and design; marble, gested we continue our walk again Studio Melrose Thursday, December 18, 2003 – ceramic, stained glass, painting and another day. 514 488-7366 Speaker: Ann Pearson PHOTO PITKEN GUIDES [email protected] Mary Meigs: painter and Writer – wood carving, supervised over some ALINE GUBBAY fifteen years by Guido Nincheri, an

THE WESTMOUNT HISTORIAN PAGE 2 THE WESTMOUNT HISTORIAN PAGE 7 FROM THE ARCHIVES Can you date these photographs Researching your Home – from the WHA Archives? Dating Old Photographs (Answers on page 8) Westmount Historical Association – Information, 2003 On a recent trip to Mississquoi Museum, Stanbridge East, I noticed an article in their newsletter 1. Social History 3. Further research – “Mississquoi For information about your house and its occupants talk by the Archivist, Judy Antle, which I thought Documents needed to do further research Heritage” to previous owners, neighbours, workmen. A. Deeds of ownership received when you bought would be of interest to WHA members. The article is about your house. a quick guide to dating old photographs, which was origi- 3. B. Cadastral and Subdivision Number nally published in “ . With Judy Antle’s 2. Start by looking for your house in these books Family Chronicle” 1998 permission, here are exerpts from the article. A View of Their Own, The Story of Westmount, (514) 925-1404 Westmount Library Westmount Historical Association Archives Barbara Covington, archivist – make appointment. We * * * Aline Gubbay, author. Social history of Westmount. Text If there are females in the picture, look at the have some information on houses and families in WOMEN: and photographs of houses, churches and public hairstyle (this applies to both children and adults): in many Westmount. buildings, etc. cases this alone can give you the date. From the earliest (514) 989-5200 days of photography, the 1840s until about 1870, women’s , 1984 City of Montréal, Westmount Borough Hall Montreal’s Little Mountain: A Portrait of Westmount JoAnne Poirier, Director of Urban Planning and Services hair was always parted in the middle and tied or pinned at Westmount Library to Business. Only the owner of house may get the back. This style largely disappeared by 1890. From Aline Gubbay & Sally Hooff, authors. A history of information. You need address of house. Blueprints of about 1870 hairstyles changed rapidly. Ringlets were fash- Westmount. Text and photographs of houses plus walks. Photo no. 1 Photo no. 2 houses and other documents after 1926. Municipal ionable in the late 1870s and again around 1900, but only , 1988 valuation roll. during the earlier period was the hair parted in the middle. Westmount: a heritage to preserve reference section of Westmount Library Dresses are the next most important clue. This is almost the (514) 399-2055 New Acquisition: Westmount Heritage Study by Beaupré and Michaud, Palais de justice – Publicité des droits only way of dating photos (of women) prior to 1870. A 1 Notre-Dame East 2nd floor (corner of St-Laurent) The WHA Archives has recently recieved, as a dona- 1988. City divided into 6 zones. Houses listed as heavy bow on a dress was a feature throughout the 1870s. Search on net and microfiche for deeds, bill of sale – need tion, the magnificent new publication from McGill-Queen’s exceptional or important, very significant and significant. The sailor top to the dress is unusual on girls although boys cadastral number – Small charge University Press, entitled Photographs. Shorter version (green book) available for were often photo graphed in sailor outfits. Dress styles RESPECTABLE BURIAL: Montreal’s Mount Royal Cemetery, by Brian Young, photo- sale at City Hall $10.00 (514) 873-6000 chang ed as often as they do today. Archives nationales du Québec graphs by Geoffrey James. 205 Bleury (Place des Arts Metro) 535 Viger East or www. Pictures of men are far harder to date than women. , 1987 MEN: Les Résidences ang.gouv.qc.ca. Has copies of all Quebec documents. Men are usually photographed wearing a suit. While suits 1 copy in reference section, 1 copy in Library From the publist’s flier: from the 1840s are different from those of the 1930s, the is a social history of death, Communauté Urbaine de Montréal, Houses of changes are far more gradual and have a greater overlap of RESPECTABLE BURIAL burial, and Montreal’s Mount Royal Cemetery, a place of outstanding architecture. Photograph of house, name of styles than dresses. The same applies to hairstyles and great beauty that inspired the creation of Mount Royal Park architect and builder, description. Alphabetical listing facial hair. and played a part in the development of Montreal, under 1st owner. The easiest way to date photographs of men is neck- Canada’s most vibrant city. Brian Young shows how the established 1835 wear. Unlike suits and hair, neckwear did change fairly fre- Lovell Householders Directory history of the Mount Royal Cemetery mirrors the evolving reference section of Westmount Library quently. Ties, with a small knot as we use them today, are social makeup, changing mores, and tragic events that 423 St-Nicolas Street, Montreal, H2Y 2P4, (514) 849-3518 not seen before about 1900. Ties with a very large knot first shaped the city. Young’s text is brought to vivid life through Alphabetical List of names/Street-Address section/map appear in about 1870 but are out of fashion by 1900. Small the award-winning photography of Geoffrey James. James’ and street section. Early editions listed occupation of bow ties are popular at all periods from the 1840s to 1930s photographs, coupled with archival images dating back to person. but large were out of fashion by 1870. Beards are only help- the 1800s, provide a beautiful addition to the text, and ful if they are of the “untidy” type. These were popular in (514) 872 -5923 show the many different shades of the Mount Royal Montreal Telephone Directory the period 1860-1880. Cemetery, one of Montreal`s most beautiful and cherished available in the Bibliothèque Centrale, 1210 Sherbrooke Having your photograph taken was a pretty Street East SMILING: spaces. formal affair, almost always done in a studio, until about 1900 when amateur phography came into being. A photo- McGill School of Architecture – Blackader-Lauderman Library BARBARA COVINGTON, ARCHIVIST (514) 398-4743 graph was for posterity; life was serious and smiling is Mariline Berger, librarian in the Redpath Library on almost unknown before 1900 McTavish at Sherbrooke Street (H. Moorshead – Family Chronicle March/April 2003) 1. If your house was designed by a well known architect. * * * 2. Floor plans of many important Westmount homes by architectural students. PHOTO ALINE GUBBAY

THE WESTMOUNT HISTORIAN PAGE 6 THE WESTMOUNT HISTORIAN PAGE 3 with cast-iron covers and a graceful staircase with a sculpt- continued from the previous page show that this was built as a substantial house. The interi- ed handrail and multiple curves. The WHA Archive pos- SPRING LECTURE SERIESIN REVIEW or retains many original features, the brick hall fireplace sesses three Victorian photo graphs of the property. with stone carvings of a man’s and woman’s head at each CAROLINE BRESLAW end, the butler’s pantry with its grooved wooden draining kitchen. There is one large central fireplace in the living HAZELHEAD HOUSE, 1872 board and ceramic sink, the floor to ceiling cabinets in the room, two stairways, one in the front going from the front HURTUBISE HOUSE, 1739 kitchen, and the divided upstairs bathroom. Many ele- William Williams, owner door directly up to the second floor and another at the back, Alan Stewart, historian ments such as the stained glass, the shaped bricks, and the Peter Lanken, architect connecting the kitchen to the bedrooms. All wooden stair wood moldings, were catalogue items. The stone farm- The house called Hazelhead railings, door frames, window frames, and mouldings are house built by Jean was named after a town in simple, heavy and plain. CAROLINE BRESLAW Hurtubise in 1739, Ayrshire, Scotland. The original Originally, the sanitary arrangements consisted of an is the oldest house land, two to three times larger outhouse; a fur coat always hung inside the back door for HAZELBRAE, 1878 in Westmount. It than today, was bought by John winter treks. Patricia Lazanis, owner still stands at Thomson, a starch merchant, DOREEN LINDSAY Caroline Breslaw, WHA 561-563 Côte St. from Andrew Cameron and Antoine. The land Catherine Glennon in 1872. There The Victorian house THE MONTGOMERY HOUSE, 1901 was granted to have been only seven owners: named Hazelbrae stands on Caroline Breslaw, owner Louis Hurtubise in John Thomson, 1872 to 1886, who land sold by the Sulpicians to Peter Lanken, architect 1699 by the Seig - died at the age of forty of typhoid Alexander Cross in 1851 neurs of the Island fever in 1874. The widow when the area was rural. The The semi-detached houses at 447 and 449 Grosvenor of Montreal. First Thompson sold, by auction, to property was subsequently Avenue were built in 1901 by James Maher on land that was mention of a wood- George Stephen (Baron Mount ac quir ed by two consortiums. originally on the eastern boundary of the Hurtubise Farm. en house was in Stephen) who lent or rented to The first, in 1872, included Jonathan Brown purchased both houses upon their com- 1731. By 1861 the farm was producing wheat, rye, oats, George Plow, a relative of Lady George A. Drummond and pletion. They served as rental properties until 1913 when peas, potatoes, carrots and had apple orchards. In 1870 the Mount Stephen’s until 1892 when he deeded the property the second, in 1874, included John Montgomery, chief agent for Dominion Guarantee brick annex was added. There are two fireplaces, one in the to him. George Stephen Plow 1886 to 1913, Guy Ross, 1913 William Notman. In 1878, Co., bought the southern unit at 447 Grosvenor. The room to the left of the front door and one in the kitchen for to 1920, John Nicholson, 1920 to 1921, Milton Hersey, 1921 John MacFarlane and his wife Montgomeries lived in the house for seventy years, first, all cooking and baking bread. The two openings in the three to 1947, Thomas Harper, 1947 to 1964, William Williams, Dame Jane Black built a villa seven of them and eventually, only the two spinster daugh- foot thick stone foundation are for ventilation, not Indian 1964 to the present. This red brick house built on a solid with a matching stable on the ters. In 1983 Robert Vachon purchased 447 Gros venor and attacks. There is a solid stone wall in the middle of the base- stone foundation stands at 364 Metcalfe Avenue today. property. John MacFarlane, a did the first major updating in its history. The present own- ment, now partially broken. In 1873 Antoine – Isaie sold the The original ornate barge board woodwork around the merchant, was mayor of land below Côte Saint-Antoine, today’s Victoria Avenue, to large porch and windows was stripped in the 1890’s. Today, Westmount in 1890. The Mac - his nephew Ephrem Hudon. The large carriage shed to the seven simple white columns hold up the porch. Thick Farlane family lived in Hazel - west of the house was constructed in the 1880’s. Dr. white stucco covers the front and sides of the house. A cen- brae until 1912. The property subsequently changed hands Léopold Hurtubise, the sixth and last generation to live in tral hallway leads from the front door straight back to the many times. The Lazanis family are the current owners. They purchased the house in 1996, and have updated and the house, renovated in 1911. In 1955 when he died, the restored it. Westmount Historical Association mounted a campaign to Hazelbrae is a rock-faced stone house with intricate have the City of Westmount purchase and preserve the wood detail and a mansard roof of fish-scale slates. The house. They did not, but Miss Alice Lighthall, vice-presi- extensive use of wood work shows the influence of dent of the WHA was instrumental in having the house American architecture of the period. The mansard roof is sold to Mable Molson, Colin J.G. Molson, and James R. taken from the French Second Empire style. There is no Beattie who formed the Canadian Heritage of Quebec to ers, Jon and Caroline Breslaw, bought the house in 1996. known architect, but pattern books were available to purchase the house in 1961. It remains empty and is still This house is an example of Edwardian Baroque con- builders at the time. The house underwent few changes owned by them. taining elements of many architectural styles. It is built of until 1946 when renovations were done to the kitchen and brick and buff sandstone. The slate false-front conceals a DOREEN LINDSAY top floor. The two-story coach house with the round tower flat roof. The date 1901 is carved into the stone at the top of has remained intact. the façade. The front door is set back on the stone porch Hazelbrae’s interior retains many of the original which has a geometric tile floor. The stained glass window Victorian features, including three marble fireplaces with and transom in the front door and above the hall fireplace The voussoir or wedge-shaped stone at the summit of an arch cast-iron arches, inside shutters, marble-topped radiators lockingKeystone: the whole together. The central principle on which all depends.

continued on the next page THE WESTMOUNT HISTORIAN PAGE 4 THE WESTMOUNT HISTORIAN PAGE 5 with cast-iron covers and a graceful staircase with a sculpt- continued from the previous page show that this was built as a substantial house. The interi- ed handrail and multiple curves. The WHA Archive pos- SPRING LECTURE SERIESIN REVIEW or retains many original features, the brick hall fireplace sesses three Victorian photo graphs of the property. with stone carvings of a man’s and woman’s head at each CAROLINE BRESLAW end, the butler’s pantry with its grooved wooden draining kitchen. There is one large central fireplace in the living HAZELHEAD HOUSE, 1872 board and ceramic sink, the floor to ceiling cabinets in the room, two stairways, one in the front going from the front HURTUBISE HOUSE, 1739 kitchen, and the divided upstairs bathroom. Many ele- William Williams, owner door directly up to the second floor and another at the back, Alan Stewart, historian ments such as the stained glass, the shaped bricks, and the Peter Lanken, architect connecting the kitchen to the bedrooms. All wooden stair wood moldings, were catalogue items. The stone farm- The house called Hazelhead railings, door frames, window frames, and mouldings are house built by Jean was named after a town in simple, heavy and plain. CAROLINE BRESLAW Hurtubise in 1739, Ayrshire, Scotland. The original Originally, the sanitary arrangements consisted of an is the oldest house land, two to three times larger outhouse; a fur coat always hung inside the back door for HAZELBRAE, 1878 in Westmount. It than today, was bought by John winter treks. Patricia Lazanis, owner still stands at Thomson, a starch merchant, DOREEN LINDSAY Caroline Breslaw, WHA 561-563 Côte St. from Andrew Cameron and Antoine. The land Catherine Glennon in 1872. There The Victorian house THE MONTGOMERY HOUSE, 1901 was granted to have been only seven owners: named Hazelbrae stands on Caroline Breslaw, owner Louis Hurtubise in John Thomson, 1872 to 1886, who land sold by the Sulpicians to Peter Lanken, architect 1699 by the Seig - died at the age of forty of typhoid Alexander Cross in 1851 neurs of the Island fever in 1874. The widow when the area was rural. The The semi-detached houses at 447 and 449 Grosvenor of Montreal. First Thompson sold, by auction, to property was subsequently Avenue were built in 1901 by James Maher on land that was mention of a wood- George Stephen (Baron Mount ac quir ed by two consortiums. originally on the eastern boundary of the Hurtubise Farm. en house was in Stephen) who lent or rented to The first, in 1872, included Jonathan Brown purchased both houses upon their com- 1731. By 1861 the farm was producing wheat, rye, oats, George Plow, a relative of Lady George A. Drummond and pletion. They served as rental properties until 1913 when peas, potatoes, carrots and had apple orchards. In 1870 the Mount Stephen’s until 1892 when he deeded the property the second, in 1874, included John Montgomery, chief agent for Dominion Guarantee brick annex was added. There are two fireplaces, one in the to him. George Stephen Plow 1886 to 1913, Guy Ross, 1913 William Notman. In 1878, Co., bought the southern unit at 447 Grosvenor. The room to the left of the front door and one in the kitchen for to 1920, John Nicholson, 1920 to 1921, Milton Hersey, 1921 John MacFarlane and his wife Montgomeries lived in the house for seventy years, first, all cooking and baking bread. The two openings in the three to 1947, Thomas Harper, 1947 to 1964, William Williams, Dame Jane Black built a villa seven of them and eventually, only the two spinster daugh- foot thick stone foundation are for ventilation, not Indian 1964 to the present. This red brick house built on a solid with a matching stable on the ters. In 1983 Robert Vachon purchased 447 Gros venor and attacks. There is a solid stone wall in the middle of the base- stone foundation stands at 364 Metcalfe Avenue today. property. John MacFarlane, a did the first major updating in its history. The present own- ment, now partially broken. In 1873 Antoine – Isaie sold the The original ornate barge board woodwork around the merchant, was mayor of land below Côte Saint-Antoine, today’s Victoria Avenue, to large porch and windows was stripped in the 1890’s. Today, Westmount in 1890. The Mac - his nephew Ephrem Hudon. The large carriage shed to the seven simple white columns hold up the porch. Thick Farlane family lived in Hazel - west of the house was constructed in the 1880’s. Dr. white stucco covers the front and sides of the house. A cen- brae until 1912. The property subsequently changed hands Léopold Hurtubise, the sixth and last generation to live in tral hallway leads from the front door straight back to the many times. The Lazanis family are the current owners. They purchased the house in 1996, and have updated and the house, renovated in 1911. In 1955 when he died, the restored it. Westmount Historical Association mounted a campaign to Hazelbrae is a rock-faced stone house with intricate have the City of Westmount purchase and preserve the wood detail and a mansard roof of fish-scale slates. The house. They did not, but Miss Alice Lighthall, vice-presi- extensive use of wood work shows the influence of dent of the WHA was instrumental in having the house American architecture of the period. The mansard roof is sold to Mable Molson, Colin J.G. Molson, and James R. taken from the French Second Empire style. There is no Beattie who formed the Canadian Heritage of Quebec to ers, Jon and Caroline Breslaw, bought the house in 1996. known architect, but pattern books were available to purchase the house in 1961. It remains empty and is still This house is an example of Edwardian Baroque con- builders at the time. The house underwent few changes owned by them. taining elements of many architectural styles. It is built of until 1946 when renovations were done to the kitchen and brick and buff sandstone. The slate false-front conceals a DOREEN LINDSAY top floor. The two-story coach house with the round tower flat roof. The date 1901 is carved into the stone at the top of has remained intact. the façade. The front door is set back on the stone porch Hazelbrae’s interior retains many of the original which has a geometric tile floor. The stained glass window Victorian features, including three marble fireplaces with and transom in the front door and above the hall fireplace The voussoir or wedge-shaped stone at the summit of an arch cast-iron arches, inside shutters, marble-topped radiators lockingKeystone: the whole together. The central principle on which all depends. continued on the next page THE WESTMOUNT HISTORIAN PAGE 4 THE WESTMOUNT HISTORIAN PAGE 5 FROM THE ARCHIVES Can you date these photographs Researching your Home – from the WHA Archives? Dating Old Photographs (Answers on page 8) Westmount Historical Association – Information, 2003 On a recent trip to Mississquoi Museum, Stanbridge East, I noticed an article in their newsletter 1. Social History 3. Further research – “Mississquoi For information about your house and its occupants talk by the Archivist, Judy Antle, which I thought Documents needed to do further research Heritage” to previous owners, neighbours, workmen. A. Deeds of ownership received when you bought would be of interest to WHA members. The article is about your house. a quick guide to dating old photographs, which was origi- 3. B. Cadastral and Subdivision Number nally published in “ . With Judy Antle’s 2. Start by looking for your house in these books Family Chronicle” 1998 permission, here are exerpts from the article. A View of Their Own, The Story of Westmount, (514) 925-1404 Westmount Library Westmount Historical Association Archives Barbara Covington, archivist – make appointment. We * * * Aline Gubbay, author. Social history of Westmount. Text If there are females in the picture, look at the have some information on houses and families in WOMEN: and photographs of houses, churches and public hairstyle (this applies to both children and adults): in many Westmount. buildings, etc. cases this alone can give you the date. From the earliest (514) 989-5200 days of photography, the 1840s until about 1870, women’s , 1984 City of Montréal, Westmount Borough Hall Montreal’s Little Mountain: A Portrait of Westmount JoAnne Poirier, Director of Urban Planning and Services hair was always parted in the middle and tied or pinned at Westmount Library to Business. Only the owner of house may get the back. This style largely disappeared by 1890. From Aline Gubbay & Sally Hooff, authors. A history of information. You need address of house. Blueprints of about 1870 hairstyles changed rapidly. Ringlets were fash- Westmount. Text and photographs of houses plus walks. Photo no. 1 Photo no. 2 houses and other documents after 1926. Municipal ionable in the late 1870s and again around 1900, but only , 1988 valuation roll. during the earlier period was the hair parted in the middle. Westmount: a heritage to preserve reference section of Westmount Library Dresses are the next most important clue. This is almost the (514) 399-2055 New Acquisition: Westmount Heritage Study by Beaupré and Michaud, Palais de justice – Publicité des droits only way of dating photos (of women) prior to 1870. A 1 Notre-Dame East 2nd floor (corner of St-Laurent) The WHA Archives has recently recieved, as a dona- 1988. City divided into 6 zones. Houses listed as heavy bow on a dress was a feature throughout the 1870s. Search on net and microfiche for deeds, bill of sale – need tion, the magnificent new publication from McGill-Queen’s exceptional or important, very significant and significant. The sailor top to the dress is unusual on girls although boys cadastral number – Small charge University Press, entitled Photographs. Shorter version (green book) available for were often photo graphed in sailor outfits. Dress styles RESPECTABLE BURIAL: Montreal’s Mount Royal Cemetery, by Brian Young, photo- sale at City Hall $10.00 (514) 873-6000 chang ed as often as they do today. Archives nationales du Québec graphs by Geoffrey James. 205 Bleury (Place des Arts Metro) 535 Viger East or www. Pictures of men are far harder to date than women. , 1987 MEN: Les Résidences ang.gouv.qc.ca. Has copies of all Quebec documents. Men are usually photographed wearing a suit. While suits 1 copy in reference section, 1 copy in Library From the publist’s flier: from the 1840s are different from those of the 1930s, the is a social history of death, Communauté Urbaine de Montréal, Houses of changes are far more gradual and have a greater overlap of RESPECTABLE BURIAL burial, and Montreal’s Mount Royal Cemetery, a place of outstanding architecture. Photograph of house, name of styles than dresses. The same applies to hairstyles and great beauty that inspired the creation of Mount Royal Park architect and builder, description. Alphabetical listing facial hair. and played a part in the development of Montreal, under 1st owner. The easiest way to date photographs of men is neck- Canada’s most vibrant city. Brian Young shows how the established 1835 wear. Unlike suits and hair, neckwear did change fairly fre- Lovell Householders Directory history of the Mount Royal Cemetery mirrors the evolving reference section of Westmount Library quently. Ties, with a small knot as we use them today, are social makeup, changing mores, and tragic events that 423 St-Nicolas Street, Montreal, H2Y 2P4, (514) 849-3518 not seen before about 1900. Ties with a very large knot first shaped the city. Young’s text is brought to vivid life through Alphabetical List of names/Street-Address section/map appear in about 1870 but are out of fashion by 1900. Small the award-winning photography of Geoffrey James. James’ and street section. Early editions listed occupation of bow ties are popular at all periods from the 1840s to 1930s photographs, coupled with archival images dating back to person. but large were out of fashion by 1870. Beards are only help- the 1800s, provide a beautiful addition to the text, and ful if they are of the “untidy” type. These were popular in (514) 872 -5923 show the many different shades of the Mount Royal Montreal Telephone Directory the period 1860-1880. Cemetery, one of Montreal`s most beautiful and cherished available in the Bibliothèque Centrale, 1210 Sherbrooke Having your photograph taken was a pretty Street East SMILING: spaces. formal affair, almost always done in a studio, until about 1900 when amateur phography came into being. A photo- McGill School of Architecture – Blackader-Lauderman Library BARBARA COVINGTON, ARCHIVIST (514) 398-4743 graph was for posterity; life was serious and smiling is Mariline Berger, librarian in the Redpath Library on almost unknown before 1900 McTavish at Sherbrooke Street (H. Moorshead – Family Chronicle March/April 2003) 1. If your house was designed by a well known architect. * * * 2. Floor plans of many important Westmount homes by architectural students. PHOTO ALINE GUBBAY

THE WESTMOUNT HISTORIAN PAGE 6 THE WESTMOUNT HISTORIAN PAGE 3 WHOSE STYLE IS IT ANYWAY? The Westmount PRESIDENT’S MESSAGE Historian Westmount has been home to me for forty years. When I first moved NEWSLETTER OF THE WESTMOUNT here, it seemed very far from the centre of Montreal. It must have felt the A friend, recently re turned Italian artist from Prato, near HISTORICAL ASSOCIATION same to the first inhabitants, 300 years ago, who came up the slopes of the from Europe, was lamenting the Flor ence. mountain to settle and farm here. They travelled north-west, away from lack here of buildings of artistic Of special interest is the apse the over-crowded original settlement of Ville Marie, looking for fresh air and historical interest. with its al fresco paintings. This September 2003 and better farm land. It is true we do not have very technique of applying paint Volume 4 • Number 1 Over the years, Westmount has slowly seeped into my awareness. First ancient buildings and the build- directly on fresh plaster was as a parent, then as exhibition coordinator with Arts Westmount. It was ing styles we see around us well known in the Ren aissance during the panel discussion that I organized on Westmount’s Heritage as have their roots, for the most and learned by Nincheri in his EDITOR: part of the 1994 exhibition that the Westmount part, in other countries and home town. My particular Flora-Lee Wagner Westmount Photographs Historical Association sprang to life again after a few years of hibernation. other cultures, but it can be fas- delight are the wood carvings, Aline Gubbay held the chair as President while she was writing A View of cinating to identify the similari- dispersed throughout the build- . After her term ended, Flora-Lee Wagner energetically took over Their Own ties and highlight the differ- ing, but there is so much to CONTRIBUTORS: the chair for three years until 2003. Now, I have been asked to guide the Caroline Breslaw, ences so that we may arrive at a study and admire. Aline Gubbay, Doreen Lindsay, Westmount Historical Association for the next two years. picture of what makes them On the same block of land as Heather Solomon-Bowden – M.P.C.S. Westmount has a special and unique identity. Although it is changing particularly ours. St. Leo’s, stands the Church of along with other urban areas, I do not want it to lose its quiet charm and I asked my friend to come for the Ascen sion. We jump several grace. Only 10 years after the WHA was originally formed in 1944, then a walk, as I live within a block centuries to arrive at the 14th WESTMOUNT HISTORICAL ASSOCIATION Vice-President, Alice Whitehall, saved our oldest extant farmhouse from of two Catholic churches, each a century inspiration for this fine BOARD OF DIRECTORS demolition. We are again presented with the problem of how to integrate fine example of two strikingly example of Gothic revival archi- this same 1739 Hurtubise fieldstone house into our lifestyle. Doreen Lindsay, President different architectural styles. St. tecture. Flora-Lee Wagner, Past President We have inherited many significant buildings. Two thirds of our Leo’s was founded early in the Built in the 1930s during the Caroline Breslaw, Vice-President Westmount buildings are considered to be of exceptional heritage quality. 20th century but radically Depression, the congregation Barbara Covington, Archivist The Victorian, Edwardian and often eclectic architecture of the large David Freeman, Treasurer altered in the 1920s in a robust had financial problems from the Andy Dodge, Secretary homes, the rhythmic repetition of row housing, all these continue to please Romanesque style. This 11th onset yet managed to produce a Elizabeth Henrik, Membership the eye and delight the owners. Collecting and preserving the early century style was itself, as its strikingly beau ti ful building. Its Anne Barkman experiences of the people who lived here before us enables us to under- name suggests, a revival of PHOTO ALINE GUBBAY tower is modelled on two Joan Clark stand the value of existing buildings, so that we may imaginatively main- Philip Dombowsky Roman forms focused around famous prototypes, among oth- Peter Lanken tain our heritage. DOREEN LINDSAY the Roman arch. It was revived ers, Magdalen College, Oxford Richard Lord in various forms over the years and and Worcester Cath edral, but it is here John Sancton owes its vigorous 19th century revival the product of a 20th century Gothic FALL LECTURE SERIES, 2003 to an American architect, Henry revival, led by several Amer ican Hobson Richardson. He urged the architects and fuel led by a lingering WESTMOUNT HISTORICAL ASSOCIATION P. O. Box 198 Victoria Station use, wherever possible, of local build- attachment to William Morris and his Westmount, Quebec Words and Images ing materials, such as those of St. medieval research. The church is set in H3Z 2Y6 Leonard Cohen, A.Y. Jackson, Mordecai Richler, and Mary Meigs: Leo’s, quarried from regional stone. an ample green space, reinforcing the Four of the many Westmounters who have made a huge impact on our With its soaring bell tower, St. Leo’s aura of an English country town. cultural life and also helped shape Canadian identity. E-MAIL: would transplant comfortable onto a The Gothic style of the 14th century [email protected] Thursday, September 25, 2003 – Tuscan hillside. was already a revival of two centuries Speaker: Terry Rigelhof But St. Leo’s special claim to fame earlier, with each century adding ele- WEBSITE: Leonard Cohen’s Westmount – www.westmounthistorical.org Thursday, October 16, 2003 – is its interior. Classified as a heritage ments, both exotic and home grown to Speaker: Wayne Larsen property in 1999 by the Historic Sites the mixture of influences. A.Y. Jackson in Westmount – ISSN: and Monuments Board of Canada, My friend was sufficiently intrigu - 1496-4066 Thursday, November 20, 2003 – Speaker: Joel Yanofsky this remarkable space is an integrated ed by what she had seen that she sug- GRAPHIC DESIGN: Mordecai Richler was here – mix of materials and design; marble, gested we continue our walk again Studio Melrose Thursday, December 18, 2003 – ceramic, stained glass, painting and another day. 514 488-7366 Speaker: Ann Pearson PHOTO PITKEN GUIDES [email protected] Mary Meigs: painter and Writer – wood carving, supervised over some ALINE GUBBAY fifteen years by Guido Nincheri, an

THE WESTMOUNT HISTORIAN PAGE 2 THE WESTMOUNT HISTORIAN PAGE 7 The WestmountNEWSLETTEROFTHE WESTMOUNT HISTORICAL HistorianASSOCIATION continuedErnst fromNeumann page 1 ing $3.50 for a print, $5.50 framed. VOLUME 4 NUMBER 1 SEPTEMBER 2003 These rates applied to what were called his Bread and Butter prints, scenes of Montreal that included har- bour scenes, Bonsecours Market, the ERNST NEUMANN Old Courthouse, Dominion Square and its caleches, as well as the Neumann was born in Budapest, quaint, ram shackle wood structure of May 1907. His life in Montreal, where Milloy’s Bookstore on Ste. Catherine he arrived in 1912, was one of poverty Street. Neumann would sketch direct- and caring for his ill mother. Those ly onto copper plates, even while sit- two factors instilled in him both bit- ting in the snow on cold days. terness and a compassion that spoke His en plein air approach to image- through his prints. The last in a series making often garnered him an audi- of studios was on Greene Avenue near ence. He was especially exasperated Ste-Catherine Street, sharing the premises with friend and colleague, by the well meaning souls who ERNST NEUMANN WEST END GALLERY asked him, as he regarded his sub- Goodridge Roberts. Neumann sus- ject in a mirror to correctly render it tained himself financially with prints on a plate backwards (since it prints of Montreal and society portraits but the other way), “Wouldn’t it be easier THE RAVEN OF SAINT ANTHONY his preferred subjects were victims of to look directly at your subject?” the Depression, society’s outcasts and The Raven inside the small shield on the Westmount Coat of Arms Neumann’s last year saw him off to satires on the judicial system. commemorates the Legend of the Ravens who fed Saint Anthony by France on a fellowship. Only two of He attended the Ecole des Beaux- his paintings were purchased by dropping bread into his place of refuge when he chose to live a solitary Arts and was a member of the Art As - External Affairs in Ottawa. The lack of hermit’s life. From 1879 to 1894, for fifteen soc ia tion of Montreal. Edwin Holgate recognition he received throughout years, Westmount was called Côte Saint- was one his instructors, influencing his career disappointed Neumann, Antoine, a continuation of the early name for Neumann with his wood engravings. but on the downtrodden, he lavished the land. At first it was the Village of Côte Neumann often produced prints that tenderness. He never finished his fel- Saint-Antoine, then in 1890, it became the were not for commercial consumption lowship year, felled by a heart attack Town of Côte Saint-Antoine. and among these were multiple- in Vence, France in March, 1956 and The raven was chosen to represent West - image studies that repeated the same figure at different angles and poses on his Montreal artist-friends exhumed mount in the Mosaiculture Inter national, one page. For these studies, Neumann the body and brought it back to Mont- when Westmount and the other seven- 2003 uses his lithographic stone like a real where it rests under a stone that teen boroughs of the new City of Montreal says, “Ernst Neumann – artist pein- sketch pad. It is notable that he ap - were invited to participate in the “Concours tre... He created beauty all his years/ pren ticed in a lithography shop in the Inter-arrondissements de Mosaicultures” The 500 pound sculpure took Fondly remembered by his friends. early 1920s. His other printmaking Edited and printed with kind per- Howard Ransom, a welder with the city, three weeks to construct. Then media were chine collé, etching and mission from Pompei Dimembro and Mélanie Bànninger, both gardeners with the city, woodcut. The Montreal Print Col - Written by Heather inserted small plants into the metal structure in the traditional Topiary Neumann made and exhibited lec tors Society. prints into the early 1950s, parallel to Solomon-Bowden. The West End style. This is our first 3-dimensional crest. The City crest and the clock ERNST NEUMANN WEST END GALLERY Gallery on Greene Avenue carries the are long standing 2-dimensional crests. his career as a painter. At the time, work of Ernst Neumann. The City of Westmount was the first Canadian City to obtain a coat of there were only four art galleries in 1930 and 1935, was the plight of the University as artist-in-residence. Neu - Montreal and artists not producing unemployed. mann did most of the teaching while (Answers to quiz on page 8) arms from Lord Lyon King of Arms (Edinburg, Scotland) on May 12th, 1945. The City obtained a patent of registration for the coat of arms with academic work created their own In 1936, Goodridge Roberts and Roberts offered painting and drawing focus. Neumann illustrated for left- Neumann opened the Roberts-Neu - demonstrations. The school closed Photograph Dates: the Canadian Heraldic Authority on 15th of February, 2001. Photo no. 1 – 1890, wing publications like New Frontier. mann School of Art following just three years later. The lady’s hairstyle; DOREEN LINDSAY JULY, 2003 Neumann’s main subject, between Roberts‚ three-year stint at Queens In the 1940s, Neumann was charg- Photo no. 2 – 1913, Men’s neckwear.

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