90 Treasures, 90 Stories, 90 Years
The complete texts of the exhibition Presented at the McCord Museum From March 18 to September 11, 2011. Introduction
A treasure has value as an intimate and immediate reminder of the past, a world we no longer know, but which has shaped the one we live in. For 90 years, the McCord Museum has been collecting and preserving invaluable artifacts from the past, building a source of great wealth for present and future generations.
This exhibition features a selection of our most treasured objects. Our curators have each chosen those objects from our collections which offer the richest stories. They uncover the hidden meanings and mysteries lying at the heart of their worth. We invite you to come unlock secrets of past lives, of events and circumstances, from the most momentous to the most everyday and personal. A veritable treasure trove awaits you.
See nine Montreal artists' personal favourites and listen to curators' comments in the podcasts on the iPod. The iPod icon on a label indicates that A podcast is available.
Artists − Marie Chouinard, Executive and Artistic Director, Compagnie Marie Chouinard − Choreographer, dancer and author − Claude Cormier, Landscape Artchitect and Principal, Claude Cormier architectes paysagistes inc, Montréal − Heidi Hollinger, Photographer and television host − Helmer Joseph, Fashion designer − Yves Léveillé, Pianist and composer − Melissa Mongiat and Mouna Andraos, Interactive designers − Lorraine Pintal, Artistic and general director, Théâtre du Nouveau Monde − Sylvain Rivard, Multidisciplinary artist, specialixing in First Nations art − Ricardo Trogi, Director and screenwriter
Curators − François Cartier, Curator, History and Archives − Cynthia Cooper, Curator, Costume and Textiles − Guislaine Lemay, Curator, Material Culture − Hélène Samson, Curator, Notman Photographic Archives − Christian Vachon, Associate Curator, Paintings, Prints and Drawings
2 The McCord Museum was founded thanks to the vision of a collector with a passion for Canadian history, David Ross McCord. A lawyer by profession, in the 1880s McCord began expanding the already considerable collection assembled by his family since their arrival in Canada from Ireland in 1760. Sparing neither time nor money, he combed the length and breadth of the country in search of the finest and most historically significant objects to tell stories of First Peoples, New France and Quebec, defining wars in Canada's history, and influential individuals. These three objects are from McCord's personal collection and bear witness to his historical interests.
Beaded horsehair basket, the first object entered in David Ross McCord’s original register book 1840-1846 Mi’kmaq Glass beads, cotton, silk, horsehair Gift of David Ross McCord McCord Museum, M1
Commission of Louis de Buade, Comte de Frontenac, obtained by David Ross McCord from a direct descendant of soldier and explorer Paul Le Moyne de Maricourt May 15, 1690 Sepia ink on laid paper Gift of David Ross McCord McCord Museum, M499
Locket containing a lock of hair from Major-General James Wolfe, one of David Ross McCord’s most admired figures 1759 Gold-plated copper alloy, glass, hair, silk Gift of David Ross McCord McCord Museum, M253
3 Treasure 1
Miniature Dorset carving (2400-1100 BP) representing a man and a polar bear joined at the chest
2400-1100 BP Dorset Ivory Gift of the Arctic Institute of North America McCord Museum, M21060
This miniature Dorset-culture carving may allude to Northern people’s belief that all living creatures had both human and animal qualities. They believed that both were alike and could speak to one another and even change from animal to human form at will. The lines on the figures evoke the skeletons, a symbol of their souls.
Treasure 2
Diary and drawings compiled by Richard Henry Stevenson during his captivity in a German prisoner-of-war camp
1944-1945 Ink, watercolour and graphite on vellum paper Gift of Richard and Sarah Stevenson McCord Museum, M2005.153.3
In April 1944 when his ship was torpedoed, Canadian naval officer Richard Henry Stevenson fought for his life in the waters of the English Channel. Stevenson spent the rest of the war in Marlag “O,” a German prisoner-of-war camp for Allied sailors near Bremen. He kept a diary, detailing the sinking of his ship and his subsequent lengthy and tedious captivity until his liberation by the Allies in spring 1945.
François Cartier
Treasure 3
Birchbark handkerchief case with moosehair embroidery
1850-1900 Huron-Wendat Birchbark, moosehair, silk, cotton thread, dyes Gift of Mr. Henry W. Hill
4 McCord Museum, ME938.10
A Huron-Wendat woman, probably from Wendake near Quebec City, made this handkerchief case. Moosehair embroidery on birchbark blended traditional knowledge with a European aesthetic introduced by the Ursuline nuns. First taught to Aboriginal girls, this technique gained popularity among Canadian needle workers of French and British origin, giving rise to a truly transcultural art form.
Guislaine Lemay
Treasure 4
Photograph of a solar eclipse, by William Notman in collaboration with scientist Charles Smallwood
1869 William Notman (1826-1891) Albumen print Gift of Mrs. Joan C. McDougall McCord Museum, N-1977.18.2.1
On August 7, 1869, William Notman recorded the phases of a solar eclipse on a wet collodion glass plate in collaboration with Charles Smallwood, then Director of the McGill University Observatory. As photography was still in its infancy and labour-intensive at the time, this scientific experiment represented a technical feat. It was documented in an article in the Canadian Naturalist.
Hélène Samson
Treasure 5
Early rubber-soled girl’s boots with moosehair embroidery
1868-1875 Wool, rubber, moosehair embroidery Gift of Dr. William P. Baker McCord Museum, M2006.118.1.1-2
These rubber-soled girl’s boots are the earliest known labelled item of Canadian- manufactured dress. They offer a glimpse into the early use of this material in footwear, less than two decades after manufacturing began in Montreal. The logo of the Canadian Rubber Company of Montreal Limited, registered in 1866, is stamped on the sole. Perhaps most surprising is the moosehair embroidery on
5 the wool uppers. It attests to an Aboriginal presence within a putting-out system for mass-produced goods.
Cynthia Cooper
Treasure 6
Beothuk caribou bone pendant found on Rencontre Island, Newfoundland, in 1847
1600-1800 Beothuk Caribou bone, hematite (red ochre) Gift of the Natural History Society of Montreal McCord Museum, ACC1141.1
This mysterious Beothuk pendant is from a small group of objects collected on Recontre Island, Newfoundland, by Reverend M. Blackmore in 1847. The last surviving member of this people, a woman named Shanawdith, died in 1829. This pendant is a sad reminder of the sometimes disastrous consequences of the contact between some Aboriginal groups and Europeans. The use of such pendants and the significance of the engraved patterns remain a mystery. Perhaps they hung on the fringe of Beothuk clothing or served as amulets.
Treasure 7
Medieval English manuscript granting an annuity between Philipp [Godrich] and John Snow
1290 Sepia ink on parchment, wax McCord Museum, M7151
This manscript takes us back to the Middle Ages – Marco Polo had returned from Venice laden with Asian spices, the spinning wheel had just been invented and William Wallace (also known as “Braveheart”) was fighting to keep Scotland free from its English oppressors. Written in Latin, on parchment (prepared animal skin), the manuscript is from a collection of European documents acquired by David Ross McCord. A wax seal, in lieu of a signature, guaranteed the document’s authenticity.
6 Treasure 8
Admission ticket for the 1876 International Exhibition in Philadelphia, with bearer William Notman’s photograph
1876 William Notman (1826-1891) Albumen print mounted on card, ink Gift of Mrs. James Geoffrey Notman McCord Museum, M978.191.1
Photographer William Notman designed this admission ticket for the 1876 International Exhibition in Philadelphia. The ticket was his own, as his portrait shows. Notman had the visionary idea of adding the bearer’s photograph to admission tickets in order to control access to the site. His idea contributed to the development of the modern photo identity card.
Treasure 9
Règlement de la confrérie de l’adoration perpétuelle du S. Sacrement et de la bonne mort, the first book printed and published in Montreal
1776 Ink on laid paper, card Gift of David Ross McCord McCord Museum, M242
Dating from 1776, Règlement de la confrérie … is a vital witness to the early days of printing in Montreal. Fleury Mesplet (1734-1794) came from France to the United States and then settled in Montreal to pursue his career as a printer. He became a leading figure in the burgeoning Canadian literary movement.
Treasure 10
18th-century pipe bowl, possibly of Anishinaabe origin, carved to represent a man’s face
1760-1780 Great Lakes, possibly Anishinaabe Wood, lead and brass inlays, brass wire, bird quills, hide strips, pigment Gift of the Natural History Society of Montreal McCord Museum, M11030
7 Aboriginal people attributed sacred properties to tobacco. It allowed men to communicate with the spirit world, as the smoke carried their words and requests to the other world. The carved bowl represents a man’s face, and its painted designs allude to tattoos or war paint. The horse- or dragon-like creature curving behind the head may portray a benevolent spirit from the Underworld.
Guislaine Lemay
Treasure 11
Canadiens hockey sweater worn by Maurice Richard, number 9
1943-1953 Wool knit Gift of the Estate of Maurice Richard McCord Museum, M2002.56.1
Hockey icon Maurice “Rocket” Richard wore this sweater in the first half of his career. During the 1944-1945 season, Richard made hockey history, scoring a record 50 goals in as many games. He was a hero for many French Canadians prior to the Quiet Revolution, and his 1955 suspension for the season led to the infamous riot. In the five years following, he led his team to win five Stanley Cups. Richard’s number 9 was retired in 1960.
Treasure 12
Journal kept by Major-General James Wolfe during the siege of Quebec
June 10, 1759 – August 7, 1759 Sepia ink and graphite on laid paper, leather Gift of David Ross McCord McCord Museum, M255
British Major-General James Wolfe’s manuscript journal offers unique insight into his thoughts, a few weeks before his death on the Plains of Abraham on September 13, 1759. In his 22-page journal, Wolfe described the events leading to the fall of New France. He detailed how the British forces advanced up the St. Lawrence and laid siege to Quebec, as well as skirmishes, troop movements, dealings with officers and more, punctuating his account with frequently bitter and sometimes personal comments.
François Cartier
8 Treasure 13
Man’s embroidered waistcoat, brought to Canada by Thomas Bird A'Heron, born in Tipperary, Ireland
1790-1799 Silk twill, silk embroidery, cotton back Gift of Mrs. Marguerite Ahern Normandeau McCord Museum, M2004.83.1
Prior to the very early 19th century, following fashion was as much a male as a female prerogative, and men could dress in brightly coloured and elaborately embroidered clothing. This waistcoat was a precious belonging brought to Canada by a soldier who sailed out of England with the 100th Regiment, in 1805. According to family history, Thomas Bird A’Heron (1770-1816) wore the waistcoat at the court of George III.
Treasure 14
Captain Bulger, Governor of Assiniboia, and the Chiefs and Warriors of the Chippewa Tribe of Red Lake, in Council in the Colony House in Fort Douglas, May 22nd, 1823
1823 Peter Rindisbacher (1808-1834) Watercolour, ink and sepia ink on paper McCord Museum, M965.9
Swiss immigrant Peter Rindisbacher painted this watercolour at the age of 15. In 1821, he moved with his family to the Red River Colony, in Manitoba, and became the first recognized artist working west of the Great Lakes. An employee of the store in Fort Garry, he sold watercolours depicting the Prairies and Aboriginal life in meticulous detail. He made a number of illustrations for the colony’s governor, Andrew H. Bulger (1789-1858), portrayed here seated in a chair.
Treasure 15
Last wishes of Louis Riel, expressed to Reverend Father Alexis André before Riel was hanged in Regina
November 16, 1885 Ink on laid paper Gift of Brian McGreevySkatoine
9 McCord Museum, M20193
The day he was hanged for high treason, Louis Riel (1844-1885), Métis chief and founder of Manitoba, expressed his last wishes in this document. Riel, widely considered a martyr, was condemned to death following his trial for leading the North-West Rebellion, in which the Métis of Saskatchewan unsuccessfully attempted to assert their rights and form their own government.
Yves Léveillée
Treasure 16
Dress of wool mousseline de laine, printed “à la disposition”
1854-1855 Wool mousseline de laine, cotton lining Gift of Mrs. Raymond Caron McCord Museum, M973.1.1.1-2
From the early 19th century onwards, women expressed their ornamental role in society through elaborate fashionable attire, like this dress with its boned bodice and long full skirt. A summer fabric, this lightweight wool was printed “à la disposition,” with two borders of different widths, and a smaller all-over pattern through the centre. In the 1850s, such prints were all the rage, as illustrated in many fashion plates. The wide borders formed the horizontal flounces, and the narrow ones formed the bodice trim.
Treasure 17
Silver teapot made by Charles Hollinshed and presented posthumously by John Paterson to James McGill
1806-1807 Charles Hollinshed Silver Gift of David Ross McCord McCord Museum, M2615-M2616
This silver teapot is the earliest piece of presentation silver in the country. It was presented postumously to James McGill (1744-1813) by his friend and former partner, John Paterson. Its inscription reads “To the Honble James McGill, Esq. in memory of a sincere friend, 1807,” along with the donor’s name and the date
10 of his death, June 25, 1806. McCord obtained the teapot from the descendants of James McGill’s wife, Charlotte Trottier Desrivières.
Treasure 18
Plan of the house and grounds of Philippe de Rigaud, Marquis de Vaudreuil, in Montreal
July 17, 1726 Sepia ink, watercolour and graphite on laid paper Gift of David Ross McCord McCord Museum, M1642
Who could imagine that orchards once flourished in Montreal’s Jacques Cartier Square? So we learn from this rare plan of the Montreal property of Philippe de Rigaud de Vaudreuil (about 1643-1725), Governor of New France. The plan shows the vegetable gardens, orchards, landscaping and room divisions of the house. Built in 1723 in the classic style of a French “hotel particulier,” and described as “gracious and well laid out,” the home remained one of Montreal’s most splendid buildings until its demolition in 1803.
Treasure 19
Head from a bust of King George III
1765 Joseph Wilton (1722-1803) Marble Gift of the Natural History Society of Montreal McCord Museum, M15885
This head from a bust of King George III (1738-1820) was retrieved from the bottom of a well. The bust was part of a monument erected in Place d'Armes in 1766. In 1775, when the Quebec Act came into force, British citizens, angered by the privileges granted to French Canadians, vandalized the bust. They painted it black, hung a potato rosary around its neck and topped it with a sign reading “Behold, the Pope of Canada, or the English idiot.” A few months later during the American occupation of Montreal, the monument was destroyed.
Guislaine Lemay
11 Treasure 20
Historical account written by Sieur Aumasson de Courville, a French notary and lawyer, at the time of the Conquest
About 1759-1760 Sepia ink and watercolour on laid paper Gift of David Ross McCord McCord Museum, M1641
Written at the time of the Conquest of New France, this critical and often partisan history was one of the first narratives to document this key period. Louis-Léonard Aumasson de Courville (about 1722-1782), known to be unpleasant and vindictive, probably refrained from signing his account out of a fear of reprisals. Only in 1940 did scholar Aegidius Fauteux finally identify Aumasson de Courville himself as the author!
Treasure 21
19th-century Kanien’kehaka outfit combining fashionable design with traditional know-how
1840-1860 Haudenosaunee (Iroquois), Kanien’kehaka (Mohawk) Silk, wool cloth, silk ribbon, brass beads Gift of David Ross McCord and W.D. Whitehall McCord Museum, M1087, M10569, M10570
With its puffed sleeves and gathered waist, this silk dress resembles many mid- 19th century fashionable garments. Rarely do such fragile garments survive. The outfit includes the traditional Aboriginal elements of leggings and a skirt with silk ribbon trim, illustrating some of the complex needlework techniques used by Haudenosaunee women. This outfit is from Kanehsatà:ke, near Montreal.
Treasure 22
Departure from Quebec City of the first Canadian contingent to embark for the Boer War in South Africa
1899 Henri Julien (1852-1908) Ink and graphite on thin card Gift of David Ross McCord McCord Museum, M677
12 Beginning in 1899, some 7,000 Canadians were sent out to support the British in South Africa, the first overseas expedition in Canadian military history. The Boer War, from 1899 to 1902, pitted the Boer Republic in South Africa against Great Britain. Henri Julien, chief illustrator for the Montreal Star, showed Quebec City residents resignedly waving goodbye to the 2nd Battalion infantry troops as they embarked on October 30, 1899.
Treasure 23
Early labelled “tailor-made” dress by Montreal “fashionable tailor” John James Milloy
1887 Wool twill Acquired with the assistance of a Movable Cultural Property grant from the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act McCord Museum, M2009.62.1.1-2
This is the earliest known complete dress with a Montreal designer label. In the late 19th century, John James Milloy catered to an elite clientele specializing in “tailor-mades,” suit-like ensembles more practical than dresses for sports, travel, or occupations outside the home. Milloy followed a relatively new practice that became commonplace as clothing production industrialized. Higher-end makers labelled garments with their names, guaranteeing the quality, creative authorship and authenticity of their product.
Cynthia Cooper
Treasure 24
Rare woman’s hood, dating from the mid-19th century, with a floral design typical of the James Bay Cree
1830-1850 Eastern Cree Wool cloth, glass beads, silk ribbon, cotton cloth Gift of David Ross McCord McCord Museum, M7059
The floral motif on this hood is typical of the James Bay Cree. Both men and women in the Subarctic traditionally wore peaked hoods made from skins and decorated with painted designs or porcupine quill embroidery. The arrival of
13 European materials did not change the shape of such hoods, but encouraged the development of a new symbol of native expression - the floral design.
Sylvain Rivard
Treasure 25
Sir William Edmond Logan, one of William Notman’s earliest official portraits
1858-1859 William Notman (1826-1891) Albumen print mounted on board McCord Museum, N-1975.32.2
Sir William Edmond Logan (1798-1875) was director of the Geological Survey of Canada and among the first of thousands of well-known people to pose for William Notman. He sat for this photograph at the time when he was involved in the geological mapping of Canada, which earned him international acclaim. Napoleon III awarded him the French Grand Medal of Honour in 1855 and Queen Victoria knighted him in 1856.
Treasure 26
Corset-waist for a child aged about four
1890-1910 Cotton sateen, stiffening material Gift of the Estate of Luc J. Béland McCord Museum, M2006.110.1
A corset-waist was once part of children’s everyday attire. It served more than one purpose. Before socks and stockings held themselves up with elasticized bands, children attached their stockings to the buttons on the lower edge with long garters. From an early age, the corset-waist trained a girl for the more restricting corset she would eventually wear in adulthood. As undergarments were used daily, waists generally wore out; few survive. This one appears unused.
14 Treasure 27
18th-century whalebone corset, known as “a pair of stays”
1785-1790 Cotton, whale baleen and cord stiffening, linen tape straps Gift of Mrs. Hamilton McCord Museum, M969X.26
Stays bore the daily strain of a moving, perspiring, body, and rarely survive; this is the only 18th-century pair in our collection. The many narrow stitched channels contain strips of stiff baleen, the wavy channels a more pliable cord stiffening. These stays have unusual features, leaving their purpose a bit of a mystery. Comparison with other examples suggests they may have been designed for riding or some other physical activity requiring exertion.
Treasure 28
18th-century medicine pouch with a porcupine quill design representing a Thunderbird, a powerful manito from the Upperworld
1779-1817 Anishinaabe Wool cloth, silk ribbon, trade silver band, porcupine quills, hide thongs, metal cones, animal hair Gift of David Ross McCord McCord Museum, M740
This pouch was used to carry medicine, i.e. objects that allowed one to contact the spiritual forces of nature and, with their help, achieve a goal. The motif, finely embroidered in porcupine quills, represents a Thunderbird surrounded by lightning. The shiny silver band reflects light, a symbolic reference to the supernatural world of manitos.
Guislaine Lemay
Treasure 29
Late 18th-century silk dress, worn to costume balls in the late 19th century
1770-1780 Chiné silk taffeta, linen lining, silk gauze apron McCord Museum, M966.53.1.1-3
15 This dress has seen wear by several generations of one single family. Although its style is that of the early 1780s, it was probably remade from an earlier dress, a common practice with costly fabric. The likely owner was Marie-Josephte Courreaud de la Côte, daughter of a Montreal merchant, who in 1782 married the noble Jean-Baptiste-Philippe-Charles d’Estimauville, Baron de Beaumouchel, born in Louisbourg. Later photographs show the dress on the couple’s descendants, attired for costume balls, a popular entertainment of that time.
Cynthia Cooper
Treasure 30
Caricature drawn during the siege of Quebec by Brigadier Townshend, ridiculing his superior, Major-General Wolfe
1759 George Townshend (1724-1807) Sepia ink and watercolour on laid paper Gift of David Ross McCord McCord Museum, M1793
This original caricature is one of the oldest of its kind in North America. Drawn two and a half centuries ago by officer George Townshend, second brigadier to Major-General Wolfe (1727-1759), it is a cruelly skilful reminder of the tenuous relationship between him and James Wolfe at the time of the attack on Quebec in 1759. David Ross McCord enthusiastically acquired seven Townshend cartoons.
Ricardo Trogi
Treasure 31
Inuinnaq dancing cap topped with a loon skin, worn at drum dances
About 1968 Inuinnaq (Kilusiktormiut) Caribou hide, loon skin (with feathers and beak), Arctic hare and weasel fur, sinew, felt McCord Museum, M976.148
Inuinnaq dancers wore caps like this at celebrations. They kept the beat by swinging the weasel skin atop it, imitating a loon’s movements. The cap’s elegance and fine craftsmanship illustrate the skill of Inuit seamstresses and their role in reaffirming and preserving their traditions.
16 Treasure 32
Portrait miniatures of Officer James Cuthbert, heir of the Berthier seigneury, and his child
About 1797-1798 for the medallion About 1815-1820 for the charm Anonymous Watercolour on ivory Gift of Dr. Wendy C. Weaver McCord Museum, M2009.31.5.1-2
Before photography was invented, miniatures were the only way to keep a loved one’s picture close. This portrait miniature of James Cuthbert Jr. (1769-1849) has a second miniature with it, the unidentified portrait of one of his children. Cuthbert wears the uniform of the 60th Regiment, for which he became lieutenant in 1797. The following year, he inherited the Berthier seigneury, left the British infantry and was named justice of the peace for the Trois-Rivières district.
Christian Vachon
Treasure 33
Antlered headdress reputed to have belonged to the famous Shawnee chief Tecumseh, killed in 1813 at the Battle of Moraviantown
1775-1800 Possibly Iroquois Deer headskin with antlers, eagle and owl feathers, porcupine quills, hematite (red ochre), stroud, sinew, tanned hide thongs Gift of David Ross McCord McCord Museum, M182
This 18th-century Iroquois headdress reputedly belonged to the famous Shawnee chief Tecumseh (1768-1813). Although some doubt surrounds the attribution, the headress’s superb craftsmanship and powerful symbols are irrefutable evidence that it belonged to an important Aboriginal leader or chief. It is made of the entire skin of a deer’s head including antlers and ears.
Guislaine Lemay; Sylvain Rivard
17 Treasure 34
Silver cup engraved with the coat of arms of Louis Joseph, Marquis de Montcalm de Saint-Véran
1725-1756 Silver Gift of David Ross McCord McCord Museum, M4839
This cup reputedly belonged to Louis Joseph, Marquis de Montcalm de Saint- Véran (1712-1759). A lieutenant-general in the king’s army, he led the French troops in the Battle of the Plains of Abraham (1759) against Major-General James Wolfe. Some hold Montcalm responsible for France’s defeat by British troops in the Seven Years War and the subsequent loss of the French colonial empire in North America.
Guislaine Lemay
Treasure 35
William McGillivray with his family on the grounds of their home, on Dorchester Street, in Montreal
1806 William Berczy (1744-1813) Oil on canvas McCord Museum, M18683
William Berczy, considered the best Canadian painter of his day, immortalized fur baron William McGillivray (1764-1825). McGillivray was one of the rich Scottish merchants who took over from French Canadians in the fur trade, eventually becoming head of the North West Company. X-ray examination suggests that several overpainted areas converted this work into a mourning portrait after McGillvray’s wife’s death in 1810.
Treasure 36
View of Montreal from the eastern slope of Mount Royal
About 1830-1831 James Duncan (1806-1881) Oil on canvas mounted on plywood Gift of William D. Lighthall
18 McCord Museum, M966.61
In 1831, in the newspaper La Minerve, Irish painter James Duncan invited the public to a viewing at the courthouse of his large panorama of Montreal. This young unknown artist, who had arrived here the previous year, was seeking public recognition of his talent. The immense painting is a polished work that faithfully depicts how the city had expanded in contrast to the mountain, which remained pastoral.
Marie Chouinard; Heidi Hollinger
Treasure 37
The Great Glacier, Selkirk Mountains, British Columbia
1892 Alexander Henderson (1831-1913) Albumen print mounted on card McCord Museum, MP-1977.165
Alexander Henderson was one of the earliest and most outstanding Canadian landscape photographers. This albumen print of the Great Glacier in the Selkirk Mountains of British Columbia is exceptional because the photograph was taken on a glass negative of equal size. The president of the Canadian Pacific Railway, Cornelius Van Horne, ordered the huge camera from Paris for Henderson’s use.
Treasure 38
Plan of the fortified city of Montreal, drawn up following the 1801 Act for Removing the Old Walls
1803 Louis Charland (1772-1813) Ink and watercolour on linen canvas Gift of David Ross McCord McCord Museum, M4855
This two-metre wide plan shows the city of Montreal just before it changed considerably. After 40 years under British rule, the fortification walls were hindering the city’s growth. In 1801, the Act for Removing the Old Walls and Fortifications that Surround the City was passed. In 1803, surveyor Louis Charland drew up this plan, showing buildings and sites that have now disappeared. The demolition was completed in 1817.
19 Treasure 39
Skating Carnival, composite photograph painted with oil on canvas at the Notman studio
1870 William Notman (1826-1891), Henry Sandham (1842-1910), Edward Sharpe (1850-1871) Silver salts, oil paint Gift of Charles Frederick Notman McCord Museum, N-0000.116.21.1
This well-known Notman studio photograph depicts a costumed skating carnival held in 1870 at the Victoria Skating Rink in Montreal in honour of Prince Arthur. Although it appears to be an oil painting, it is actually a composite photograph painted over with oils, one of the studio’s specialties. The technique involved pasting individual photographs onto a sketched background, photographing and reproducing the collage, projecting the image onto canvas with a solar enlarger, and then painting it.
Heidi Hollinger; Lorraine Pintal
Treasure 40
Pair of late 18th-century silk brocade shoes with label of Chamberlain and Sons, Cheapside, London
1775-1780 Brocaded silk, linen lining, leather Gift of Mrs. J. Reid Hyde McCord Museum, M972.53.1.1-2
Because of an error in dispatching goods from a ship in 1778, we know that Quebec City merchants imported luxury shoes from Chamberlain and Sons, just like these. Thomas Aylwin described the contents of a full trunk, hopeful that the merchant who had picked up his trunk by mistake would switch. Like most shoes of the 18th century, the right and left are identical in shape.
Helmer Joseph; Lorraine Pintal
20 Treasure 41
Medal belonging to Sir William Johnson, an influential figure in the British colonies and Superintendent of Indian Affairs for the northern colonies
About 1766 Michelson Godhart de Bruls Silver Gift of David Ross McCord McCord Museum, M1891
European diplomats forged alliances with their Native counterparts by adopting their protocol—including exchanging gifts and smoking the peace pipe—during negotiations with them. Crown representatives gave medals like this one, struck between 1763 and 1766, to the chiefs of nations in Ohio and Illinois, to guarantee their neutrality in the war waged by the Odawa chief, Pontiac. This medal belonged to Sir William Johnson (1715-1774), Superintendant of Indian Affairs for the northern colonies.
Guislaine Lemay
Treasure 42
Photograph album of staged hunting scenes by William Notman
1866 William Notman (1826-1891) Paper, leather, cloth, albumen prints McCord Museum, N-0000.57.1-9
William Notman’s studio sold pictures of typical Canadian activities, such as hunting, skating and tobogganing. They were actually tableaux vivants shot in his studio using a variety of props and elaborate fakery. In 1866, Notman produced a series of nine photographs showing the stages of a caribou hunt from start to finish. These images, precursors of today’s staged art photography, earned him international recognition.
Treasure 43
Historiæ Canadensis, sev Novæ-Franciæ Libri Decem, Ad Annum usque Christi, written by Jesuit François Du Creux
1664 Ink on laid paper, leather
21 Gift of Mrs. Ward C. Pitfield McCord Museum, M11712
Although its author, Jesuit priest François Du Creux (1596-1666), had never visited Canada, Historiæ Canadensis, published in France in 1664, is a key record of this country’s early history. Du Creux based his scholarly work on nearly 20 years research, from texts contained in the Jesuit Relations, conversations with his missionary colleagues (including fathers Lallemand, Jogues and Lejeune), and written accounts of Samuel de Champlain and Marc Lescarbot, author of Histoire de la Nouvelle-France.
Treasure 44
Plate made by Davenport, a British pottery, with a view of Montreal from an engraving by Robert Auchmuty Sproule
1830-1840 Earthenware Davenport, Staffordshire, England McCord Museum, MC988.1.64
The mastery of underglaze transfer printing opened up endless possibilities for potters. They turned to travel books in search of images to transfer to fine earthenware. Davenport, a Staffordshire pottery, copied images of Montreal by artist Robert Auchmuty Sproule (1799-1845) in a half-dozen colours onto its pieces. The rarest of these are multicoloured. The Museum has pieces in every colour.
44.A-D Plates 1830-1840 Earthenware Davenport, Staffordshire, England McCord Museum, MC988.1.65-66, 68-69
Guislaine Lemay
22 Treasure 45
Painted basket by Haida artist Charles Edenshaw with a motif representing a Wasgo or sea wolf, a mythical half-wolf, half-killer whale creature
1921 Charles Edenshaw (1839-1924) and his wife, Isabella Edenshaw (about 1858- 1926) Haida Spruce or cedar root and bark, paint, dye Gift of the Art Association of Montreal McCord Museum, ACC1811
The motif adorning the walls of this basket is the mirror image of a Wasgo, a giant sea-creature, half-wolf, half-killer whale. It was painted by renowned Northwest Coast artist Charles Edenshaw, or Tahayren. His wife, Isabella K'woiyang Edenshaw, a recognized basket weaver, wove the support. Curiously, the creature’s dorsal fin is reversed.
Treasure 46
OK Everybody Take a Valium! Aislin caricature of René Lévesque trying to calm nervous Anglophone Quebecers the day after the Parti québécois victory in 1976
1976 Terry Mosher, alias Aislin (born in 1942) Prepress proof, silver print on resin-coated paper Gift of Terry Mosher McCord Museum, P090-A/50-1004
OK Everybody Take a Valium! is undoubtedly one the most famous editorial cartoons of the past four decades of Quebec political life. Aislin, editorial cartoonist for The Gazette, portrayed René Lévesque uttering these words the day after the Parti québécois victory in 1976. He parodied the expression when Robert Bourassa returned as head of the Liberal Party in 1983. The possibility of Quebec independence reached its peak with the 1995 referendum, as shown in Serge Chapleau’s cartoon referring to the “love in” held in Montreal on October 27, 1995.
46.A OK Everybody Take an Anti-Depressant! 1983 Terry Mosher, alias Aislin (born in 1942) Original cartoon: ink, felt pen and film on paper Gift of Terry Mosher
23 McCord Museum, M984.303.8
46.B Leading up to the referendum, English Canadians expressed their love for Quebecers 1995 Serge Chapleau (born in 1945) Original cartoon: graphite on card Gift of Serge Chapleau McCord Museum, M998.51.207
Christian Vachon
Treasure 47
Statuette of Louis-Joseph Papineau by artist Louis-Philippe Hébert
1887 Louis-Philippe Hébert (1850-1917) Bronze Gift of Raymond Brodeur, Encadrements Marcel McCord Museum, M2003.26.1
Louis-Philippe Hébert was the foremost Quebec sculptor of the late 19th century. The commissioner of this bronze was probably the son of Louis-Joseph Papineau (1786-1871), one of the leading figures in the history of French- Canadian nationalism. The Museum has eight sculptures by this artist, all in plaster, except this one, which is cast in bronze by M. Hohwiller. Hébert produced a number of monumental sculptures for public and religious sites.
Treasure 48
Portrait of Astokumi and a woman from the T'suu T'ina First Nation, Alberta
William Hanson Boorne (1859-1945) 1885 Albumen print Gift of Mr. and Mrs. T. E. Stevenson McCord Museum, MP-1973.49.3.14
In the 1880s, Calgary photographer William Hanson Boorne (1859-1945) took a series of photographs of Aboriginal people, which remain relatively unknown. In this exemplary portrait of Astokumi and a T’suu T’ina woman, the various
24 elements suggest a quiet presence in spare surroundings, implying a vision of a noble people in harmony with the physical world.
48.A Mutsinamakan and his wife, T'suu T'ina, near Calgary 1885 William Hanson Boorne Albumen print Gift of Mr. and Mrs. T. E. Stevenson McCord Museum, MP-1973.49.3.21
48.B Otokuyicokoan, T'suu T'ina, near Calgary About 1886 Boorne & May (active from 1886 to 1889) Albumen print Gift of Mr. and Mrs. T. E. Stevenson McCord Museum, MP-1973.49.3.42
48.C Siupakio and Sikunnacio, young T’suu T’ina women, near Calgary About 1885 William Hanson Boorne Albumen print McCord Museum, MP-0000.14.11
Treasure 49
Ewer marked Savage & Lyman, one of the largest silver merchants in Canada
1860 Silver Savage & Lyman, Montreal, Quebec Gift of Mr. W. Watson Ogilvie McCord Museum, M994.32.1
In the 19th century, Savage, Lyman & Co. was one of Canada’s largest silver merchants. George Savage, born in 1767 in Huddersfield, England, went into business in Canada around 1818. About 1840, he formed a partnership with his eldest son, Joseph Savage. The firm sold fine silverware imported from the leading English makers and from the best Montreal silversmiths, including Peter Bohle and Robert Hendery. Joseph Savage later partnered with his brother-in- law Joseph Lyman, followed by Charles W. Hagar and Henry Birks.
25 Treasure 50
Plate made in the 19th century by the St. Johns Stone Chinaware Company, located in Saint-Jean-sur-Richelieu, Quebec
1879-1899 White ceramic St. Johns Stone Chinaware Company, Saint-Jean-sur-Richelieu, Quebec McCord Museum, M970.86.2, .18, .26-29.1-2
In 19th-century Quebec, the shores of the Richelieu River were the cradle of pottery making, producing everyday stoneware for the local market. Higher quality ceramics were imported from Great Britain. Prior to 1879, no one had ever tried to make white ceramic in Canada, with the exception of George Whitefield Farrar. In 1873, he founded the St. Johns Stone Chinaware Company, the only Canadian company to produce china as fine as European imports.
50.A-E Part of a tableware set 1879-1899 White ceramic St. Johns Stone Chinaware Company Saint-Jean-sur-Richelieu, Quebec McCord Museum, M970.86.18, 26-29.1-2
Treasure 51
Picture Book, the main index for Notman studio photographs
1863 Picture Book No. 8 William Notman (1826-1891) Paper, cloth, albumen prints McCord Museum, N-0000.1956.1.8
In the latter half of the 19th century, the Notman studio in Montreal was one of the largest in North America. Since 1956, the McCord Museum has held its complete archives, an invaluable record of Montreal and Canadian history. William Notman kept an index, known as a Picture Book, containing a numbered and labelled copy of each of his photographs, in chronological order. In use from 1858 to 1935, this system resulted in 200 such books, making it possible to identify almost every photograph ever taken by the Montreal studio.
26 51.A Robert A. McCord 1863 William Notman Albumen print mounted on card Gift of Mr. F. McCord McCord Museum, N-0000.183.61
51.B Robert A. McCord 1863 William Notman Collodion glass plate McCord Museum, I-7519
51.C Index Book No. 1 1859-1863 Paper, ink McCord Museum, N-0000.1956.2.1
Hélène Samson
Treasure 52
Observations on the aurora borealis made by George Back, on his expedition to the Canadian Far North
October 17, 1833 – February 8, 1835 Sepia ink, watercolour and graphite on laid paper Gift of Reverend Norman Pares McCord Museum, M2634
On an expedition he led in the Canadian Arctic from 1833 to 1835, George Back (1796-1878) made one of the first studies of the phenomenon of the northern lights (aurora borealis). A British naval officer, artist and explorer, Back had begun his career in the Canadian Arctic with the legendary Sir John Franklin. He and his colleagues wrote this journal at Fort Reliance, a post built in 1833 at the eastern tip of Great Slave Lake.
François Cartier
27 Treasure 53
Account book kept in Scotland and Quebec by weaver James Murdoch
1799-1838 Sepia ink on laid paper, leather Gift of Mrs. Nancy G. Rudderham and Mrs. Anne N. Lightfoot McCord Museum, M2002.134.1
“I sought after trade but could not find a loom nor a Weaver in all Quebec,” wrote this Scottish immigrant weaver on his arrival in that city in 1821. James Murdoch eventually acquired land in Shipton (now Richmond) bought a loom, and plied his trade as a weaver and a farmer there for almost two decades. His account book gives detailed lists of the fabrics he wove, their monetary value, his customers and the goods they bartered in return. Most importantly, it contains a number of rare coverlet patterns.
53.A Overshot coverlet, of type woven by Murdoch Mid-19th century Cotton, wool McCord Museum, M980.40.1
Cynthia Cooper
Treasure 54
Northern Quebec Aboriginal snowshoes designed to please the spirits
1865-1900 Atikamekw, Anishinaabe or Eastern Cree Wood (birch), caribou babiche, hematite (red ochre), hide Gift of Dr. John L. Todd McCord Museum, ACC1148.1-2
Aboriginal hunters in Northern Quebec believed that snowshoes had spiritual powers. The patterns in the webbing, the knotting on the frame and the red ochre protected the hunter. When his appearance pleased the animal spirits, his hunt was successful. This pair was clearly made by an exceptional artist and must certainly have charmed the spirits.
Yves Léveillée
28 Treasure 55
One of nine known enigmatic self-portraits by illustrator-reporter William Hind
About 1862-1863 William Hind (1833-1889) Watercolour, ink and graphite on thin card Gift of David Ross McCord McCord Museum, M459
In 1851, British-born painter, watercolourist and illustrator William Hind immigrated to Canada. Several self-portraits reveal his mastery of detail and his exceptional realism. The best known of these, in the McCord’s collection, shows his heightened sense of his self-image. He became an artist-reporter, publishing illustrations of his expeditions across the country.
Treasure 56
19th-century Nakoda dance stick representing a horse
1865-1900 Assiniboine, Nakoda Wood, horse hair, rawhide, silk ribbon, cotton, brass nail, iron, synthetic paint Gift of Miss Mabel Molson McCord Museum, M5396
This especially lifelike and realistic Nakoda carving shows the Plains cultures’ respect and admiration for horses and the pride felt by horse owners. Perhaps it commemorated a brave horse that died on the battlefield, featured in a storyteller’s recreation of a battle scene or raid, or perhaps a performer simulated “mounting” it in a ceremonial dance.
Marie Chouinard
Treasure 57
Red flannel drawers, a women’s winter undergarment
1860-1875 Wool flannel, cotton McCord Museum, M965.79
29 These drawers were once a hidden secret. Since a woman could not wear trousers in public in the 19th century, her long skirt kept them modestly out of sight. In a letter, an English traveler to Canada sketched the construction of the “coarse red or linsey-woolsey large knickerbockers” she used here. “Ladies wear them out of doors over everything except crinoline and outer skirts. Strong warm protection against the cold will save much in sickness and worry.” People believed red wool undergarments provided health benefits.
Treasure 58
18th-century braided sash ornamented with tiny white glass beads
1775-1800 Anishinaabe, Iroquois or Huron-Wendat Worsted wool yarn, porcupine quills, metal cones, dyed moose or deer hair, glass beads Gift of Mrs. Gladys E. Harris McCord Museum, ME982X.484
This sash was braided from worsted wool yarn, possibly unravelled from a trade blanket. Threaded on one of the yarns in the wide braid, the beads form a diamond pattern. No one knows whether it was the First Nations, Europeans or Euro-Canadians who made the first arrow sash, or “ceinture fléchée,” but Aboriginal women had been finger weaving long before the arrival of Europeans.
58.A Finger-woven “ceinture fléchée” (arrow sash) 1830-1840 French-Canadian Wool Gift of Mrs. J. B. Learmont McCord Museum, M5437
Treasure 59
Silk patchwork coverlet with appliqué of intials “IN” and year “1726,” the oldest quilt in North America
1726 Patchwork of silk fabrics, linen thread, paper backing Gift of Mrs. Albert Ayer McCord Museum, M972.3.1
30 This silk patchwork coverlet from England was the oldest dated example in the world, until recently when one came to light from 1718. The maker stiffened each small triangle of fabric with a fragment of paper – taken from a handwriting copybook, letters, a Latin text and legal regulations for makers of malt. While we know the name of the woman who brought the quilt to Kingston, Ontario in 1850, the initials “IN” remain a mystery.
Cynthia Cooper; Melissa Mongiat et Mouna Andraos
Treasure 60
Hand-painted silk taffeta dress worn by Mary Chaloner for her wedding to John Hale
1763 Hand-painted silk taffeta, cotton sleeve ruffles Gift of Miss Stephanie Hensley McCord Museum, M973.93.1.1-5
This dress bears witness to connections between far-flung international locations two and a half centuries ago. Its fabric is an exceptional silk taffeta, hand woven and then hand painted in China, with both Chinese and Indian-inspired motifs. On June 11, 1763 in England, Mary Chaloner (1743-1803) wore it for her wedding to General John Hale (1728-1806), just back from the West Indies, and before that, Quebec, where he was chosen to announce the British victory to the king.
Treasure 61
Maliseet headdress from an outfit identified as a “Mi’kmaq warrior dance ensemble” of uncertain origin
1865-1900 Maliseet Ostrich feathers, glass beads, brass beads and tokens, silk ribbon, cotton thread, birchbark, cardboard, metallic thread and ribbon, metal braid Gift of David Ross McCord McCord Museum, M956.5
Among the most interesting acquisitions in the Mi’kmaq collection are some curious outfits identified as “Mi’kmaq warrior dance ensembles.” They each include a gathered skirt, a sash, a pouch and a headdress, either a feathered Glengarry cap (as here) or a feather headdress with a tail. The four unique outfits
31 in the Museum’s collection as well as a few photographs are the only evidence of this mode of dress.
61.A-B Dance ensemble 1840-1860 Mi’kmaq or Maliseet Velvet, metallic ribbon, metal braid, metal sequins, glass beads, cotton cord, cotton thread, wool, china button Gift of David Ross McCord McCord Museum, M122.1-3
Sylvain Rivard
Treasure 62
Photograph of an Inuit seal hunter
About 1870 James Laurence Cotter (1839-1889) Albumen print Gift of Mrs. D. A. Murray McCord Museum, MP-0000.391.6
In the 1870s, James Laurence Cotter was one of the first photographers in the world to document Inuit life. A fur trader for the Hudson’s Bay Company in the Eastmain and Little Whale River (Fort George) district, Cotter was an amateur photographer who worked with the help of his wife, Frances Symington Ironside. Together they set up their darkroom on the ice, prepared the plates and exposed them while they were still wet, and developed the photographs immediately afterwards.
62.A Building an Igloo, Little Whale River, QC 1874 James Laurence Cotter Albumen print Gift of Mrs. D. A. Murray McCord Museum, MP-0000.391.4
62.B Making a Kayak, Little Whale River, QC 1874 James Laurence Cotter Albumen print
32 Gift of Mrs. D. A. Murray McCord Museum, MP-0000.391.12
62.C Butchering a Whale, Little Whale River, QC 1872 James Laurence Cotter Albumen print Gift of Mrs. D. A. Murray McCord Museum, MP-0000.391.7
Hélène Samson
Treasure 63
Earliest Quebec sampler, embroidered by Mary Sheepey
1764 Silk embroidery on linen canvas Gift of Mr. René Boissay McCord Museum, M988.132
A schoolgirl made this sampler shortly after immigrating to Canada, a country in the midst of a major political transition. Little is known of Mary Sheepey, other than that her family came from Ireland to Quebec following the British conquest. While Mary’s sampler shows that her family subscribed to the British tradition of teaching girls needlework, the text of the Lord’s Prayer in French and the altar imagery suggest French tutelage. Her work shows the combined influence of two cultures.
Cynthia Cooper
Treasure 64
Mademoiselle Lily Darboy, a French fashion doll, and some of her accessories
1863-1866 Bisque head and shoulders, kid body, mohair Gift of the Palazi-Raby family McCord Museum, M2010.10.1.1-200
This French fashion doll, known as a poupée, has some two hundred garments and accessories, only a few of which are shown here. They reflect the wardrobe
33 of a fashionable bourgeois woman of the time. Parisian stores dedicated to such luxury dolls and their accoutrements were spectacles of Second Empire extravagance. Between 1863, the year he became Archbishop of Paris, and 1866, Georges Darboy offered Lily to his niece, whose descendants brought her to Canada.
Lorraine Pintal
Treasure 65
Magic lantern slide entitled Icebergs and Northern Lights, from a series illustrating an Arctic voyage in search of the 1845 Franklin expedition
1855-1860 Unknown artist Painted lantern slide McCord Museum, M965.103.2
The magic lantern was one of the earliest devices for projecting images on a screen in a darkened room to entertain an audience. In the mid-19th century, following Sir John Franklin’s famous 1845 expedition, magic lanterns told many fantastical tales of Arctic voyages. This image of a polar bear hunt amongst icebergs, under the northern lights, is a good example of a slide based on an artist’s lithograph.
65.A Snow Village 1855-1860 Unknown artist Painted lantern slide McCord Museum, M965.103.3
65.B Snow Bridge 1855-1860 Unknown artist Painted lantern slide McCord Museum, M965.103.11
65.C Winter Quarters 1855-1860 Unknown artist Painted lantern slide McCord Museum, M965.103.10
34
Claude Cormier; Melissa Mongiat et Mouna Andraos
Treasure 66
Silver bracelets with the hallmark of Scottish silversmith Robert Cruickshank, one of the best-known makers of trade silver in Montreal
1767-1809 Robert Cruickshank (1743-1809) Silver Gift of David Ross McCord McCord Museum, M1884.1-2
From 1750 to 1850, Montreal was one of the main trade silver-producing centres in Canada; thousands of pieces were made here. One of the city’s most famous silversmiths was Robert Cruickshank, who emigrated from Scotland in 1773. Cruickshank had a very busy professional life, indicated by his associations with other craftsmen and his many apprentices. He had a home and an adjacent shop on Notre-Dame Street. With his popular innovative style, he was able to compete with American and British silversmiths of the day.
Guislaine Lemay
Treasure 67
First section of the personal diary kept by Henriette Dessaulles in her youth
September 8, 1874 – August 24, 1876 Ink and graphite on vellum paper, leather Gift of Mrs. Suzanne Morin Raymond McCord Museum, M980.204.1
This diary reveals the 19th century through the eyes of a young girl, Henriette Dessaulles (1860-1946). Dessaulles chronicled her teenage years with precise and often poignant detail. She would go on to a brilliant career as a writer, as one of the pioneers of women’s journalism in Quebec, alongside Laure Conan, Robertine Barry, Joséphine Marchand and Léonise Valois, among others.
François Cartier; Ricardo Trogi
35 Treasure 68
Moeurs, loix et costumes des sauvages de la Baye d'Hudson, by Jacques Grasset de Saint-Sauveur
About 1796 Ink and watercolour on laid paper, card Gift of Dr. J. Lawrence Hutchison McCord Museum, M2004.117.20
Eurocentric as it may be, Moeurs, loix et costumes des sauvages de la Baye d'Hudson [Mores, Laws and Customs of the Savages of Hudson’s Bay] helped shape European conceptions of peoples around the globe, especially Aboriginal peoples of North America. Author, illustrator, and publisher Jacques Grasset de Saint-Sauveur (1757-1810) excerpted this small volume from his major work, Encyclopédie des voyages, published in Paris. Montreal-born Grasset held various diplomatic posts in Europe. His travels inspired his writing.
Treasure 69
Powder horn, probably belonging to an officer in the 22nd Regiment (the Cheshire Regiment), stationed in Canada from 1756 to 1761
1759 Cow horn, silver Gift of David Ross McCord McCord Museum, M6935
Powder horns were very popular with soldiers, militia members and civilians, as natural horn provided a good environment for keeping gunpowder dry. This one is engraved with a map of New York State, the British coat of arms, the initials IWKR, the number 22 and the year 1759. The initials are probably those of its owner and the 22 a reference to the 22nd Regiment. In 1759, the Regiment took part in Major-General James Wolfe’s victory against the French at Quebec.
Treasure 70
“Carte-de-visite” portrait of Mrs. Andrew Robertson of Montreal, painted with watercolours
1865 William Notman (1826-1891) and John Arthur Fraser (1838-1898) Watercolour on albumen print Gift of Mrs. C. M. Patch McCord Museum, N-1973.47.148
36 This miniature portrait is in fact a Notman photographic print, painted with watercolours by John Arthur Fraser, a Notman employee and partner for more than 20 years. Hand colouring of portraits was common in the early days of photography but few artists matched Fraser’s success in combining the two media. The delicate colours, fine brushstrokes and accuracy of the original photograph blend together admirably.
70.A Mrs. Markland Molson, Montreal 1863 William Notman and John Arthur Fraser Watercolour on albumen print Gift of Miss Mabel Molson McCord Museum, N-0000.1768.2
70.B Mr. Andrew A. McCulloch, Montreal 1863-1868 William Notman and John Arthur Fraser Watercolour on albumen print Gift of Miss Mabel Molson McCord Museum, N-0000.347.3.25
70.C Miss Lilias Savage, Montreal 1866 William Notman and John Arthur Fraser Watercolour on albumen print Gift of Miss Mabel Molson McCord Museum, N-0000.1768.5002
70.D Mr. John Thomas Molson, Montreal 1863 William Notman and John Arthur Fraser Watercolour on albumen print Gift of Miss Mabel Molson McCord Museum, N-0000.1768.5001
Hélène Samson; Helmer Joseph
37 Treasure 71
Deed confirming the grant of the Rouville seigneury by Louis XIV to Jean- Baptiste Hertel de Rouville
1695 Louis Phelypeaux (1643-1727) Sepia ink on parchment Gift of Louise Archambault Sheils McCord Museum, M2005.25.1
This document signed by Louix XIV officialized the 1694 grant of a seigneury on the Richelieu River to Jean-Baptiste Hertel, Sieur de Rouville. The seigneurial manor house in Saint-Hilaire featured a portrait gallery of the Hertel de Rouville family. Nine surviving paintings from the gallery, the only such Canadian collection of its kind, are in the McCord Museum.
71.A Portrait of Jean-Baptiste Hertel de Rouville (1668-1722) About 1707-1708 Anonymous Oil on canvas McCord Museum, M966.62.1
71.B Portrait of René-Ovide Hertel de Rouville (1720-1792) About 1769 Attributed to John Mare (1739-1803) Oil on canvas McCord Museum, M966.62.2
71.C Portrait of Jean-Baptiste-Melchior Hertel de Rouville (1748-1817) About 1810 William Berczy (1744-1813) Oil on canvas McCord Museum, M966.62.3
71.D Portrait of Jean-Baptiste-René Hertel de Rouville (1789-1859) About 1830-1840 Jean-Baptiste Roy-Audy (1778-1848) Oil on canvas McCord Museum, M966.62.5
Christian Vachon
38 Treasure 72
Needlework picture made by Marie-Philomène Derome, aged 14, as a student at the Pensionnat du Saint-Nom-de-Marie, in Hochelaga
1871 Marie-Philomène Derome (1857-1892) Wool yarn “Berlin work” embroidery Gift of Mr. Jean Carrière McCord Museum, M992.44.1
A year before graduating, Marie-Philomène Derome was not only proficient enough with her needle to create this piece, but a sufficiently accomplished pianist to play a duet at her school concert. The Hochelaga convent took pride in its strengths in teaching girls needlework, and received an award at the Philadelphia Exhibition of 1876. While many examples of this type of embroidery exist, rarely are the maker, date, and school identified.
Treasure 73
Portrait of a Haitian woman long considered the artist’s slave in Montreal
1786 François Malepart de Beaucourt (1740-1794) Oil on canvas laid on canvas Gift of David Ross McCord McCord Museum, M12067
François Malepart de Beaucourt, born in La Prairie, Quebec, was the first Canadian painter to study in Europe. There is no record of his activities between the end of a long stay in France in 1784, and 1792, when he resurfaced in the United States and then Montreal. Recent information shows that Beaucourt was living in Saint-Domingue, present-day Haiti, in 1787 and 1788, suggesting he painted this 1786 portrait in the West Indies.
Helmer Joseph
Treasure 74
Painting showing some of the members of the Shakspeare (sic) Club, founded in Montreal in 1843
1847 Cornelius Krieghoff (1815-1872)
39 Oil on canvas Gift of Mrs. E. R. Brodhead McCord Museum, M2000.95.1
Krieghoff, one the most popular painters in mid-19th century Canada, is widely known for his landscapes and genre scenes. He settled in Montreal in 1846, advertising himself as a professional artist. The following year he joined the Shakspeare Club (sic) and painted this group portrait, where he appears in the background smoking a pipe. This painting was unknown until the Museum acquired it in the year 2000.
Christian Vachon
Treasure 75
Paper fan autographed by well-known French artists and composers
Late 19th century Paper leaf, wooden sticks Gift of Mrs. Madeleine Boyer McCord Museum, M984.28.1
More than 35 well-known artists and musicians autographed the front and back of the paper leaf of this fan. Among the most well-known names are those of actress Sarah Bernhardt, Italian painter Boldini, French painter Bouguereau, and composers Massenet and Gounod, who even scribbled a few bars of his opera, Faust. The fan belonged to the family of Jules Hamel, a Montreal banker by profession, and a passionate composer and pianist who had spent time in Paris.
Yves Léveillée
Treasure 76
Address to Thomas Evans Blackwell, Vice-President and Managing Director of the Grand Trunk Railway, on his departure
April 5, 1862 Ink, gouache and watercolour on vellum paper, velvet, silver McCord Museum, M2010X.6.2
When he received this address, Thomas Evans Blackwell (1819-1863) had only a year to live. In 1857, the London head office sent him out to direct the Grand Trunk Railway of Canada, a rapidly expanding company. Despite his chronic illness and failing health, he was to supervise the completion of the Victoria
40 Bridge. This lavishly illuminated document expresses his colleagues’ esteem. Blackwell died in England on June 25, 1863, at age 43.
Treasure 77
Daguerreotype camera, the earliest known in Quebec
1845-1849 Rosewood veneer on pine, brass, lens (non original, from the period) Lens made by Holmer, Booth & Hayden, New York Acquired with the assistance of a Movable Cultural Property grant accorded by the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act McCord Museum, M989.406
This camera is the earliest known in Quebec. In the 1830s, Nicéphore Niépce and Louis Jacques Mandé Daguerre developed the daguerreotype in France. One of the earliest photographic processes, it produced a single, accurate image on a silver-coated plate. A collector in Sainte-Agathe, in the Laurentians, acquired the camera and sold it in the United States. The McCord Museum bought it back in 1989 with financial support from the Government of Canada.
77.A The Dawes Children About 1850 Unknown photographer Daguerreotype Gift of Mrs. A. Sidney Dawes McCord Museum, MP-0000.427.1
Heidi Hollinger
Treasure 78
The burning of the Canadian Parliament building in Montreal, in response to the bill compensating those who suffered losses during the repression of the 1837-1838 rebellions
1849 Anonymous (formerly attributed to Joseph Légaré) Oil on canvas mounted on board McCord Museum, M11588
41 On April 25, 1849, angry citizens burned down the Parliament building in Montreal, in today’s Place d’Youville. The English protestors resented the passage of the Lower Canada Rebellion Losses Bill, compensating French Canadians for their losses in the 1837-1838 rebellions. The government then convened in the Bonsecours Market, until the capital of the Province of Canada moved to Toronto.
Claude Cormier
Treasure 79
Waterproof hooded Yu’pik sea-mammal gutskin parka decorated with feathers and horny sheaths from crested auklets (sea birds)
1910-1915 Yu’pik from Sivuqaq (St. Lawrence Island, Alaska) Seal intestines, crested auklet feathers and horny sheaths, sinew, seal fur Gift of Dr. Philip N. Cronenwett McCord Museum, ME986.62
This hooded parka, or kamleika, is made from sea-mammal gutskin. It combines technical prowess with a sophisticated understanding of the materials used. Worn by both men and women, it was pulled on over the head and other clothing, and protected its wearer against sea-spray or sleet. In Alaska, shamans sometimes wore such parkas in healing rituals or to communicate with sea spirits.
Guislaine Lemay ; Claude Cormier; Melissa Mongiat et Mouna Andraos
Treasure 80
Mi'kmaq prayerbook in hieroglyphics
Late 18th century Sepia ink on laid paper, leather McCord Museum, M18836
It is a little-known fact that hieroglyphics were used in Canada! This rare religious text in the Mi’kmaq language contains part of a matrimonial prayer. Its author, Récollet missionary Chrestien Le Clercq (1641- ?), adapted an existing system of figurative characters for his religious instruction. These characters form a functional alphabet – in fact, it is the oldest Aboriginal script north of Mexico City!
François Cartier; Marie Chouinard
42 Treasure 81
Scrapbook containing art, poetry, and essays by members of the Pen & Pencil Club of Montreal
1892-1895 Ink, gouache, watercolour McCord Museum, M966.176.1-103
This scrapbook contains unpublished work by painter William Brymner (1855- 1925), painter Edmond Dyonnet (1859-1954), physician, soldier and poet John McRae (1872-1918), and humourist, essayist and historian Stephen Leacock (1869-1944), among others. In Montreal on the evening of March 5, 1890, six artists and writers gathered to found the Pen & Pencil Club. They aimed to promote art and literature, and provide opportunities for social exchange. At each meeting, members presented their art and writing on a chosen theme.
Treasure 82
Map of the Americas published in the 1579 edition of the first world atlas, Theatrum Orbis Terrarum
1579 Abraham Ortelius (1527-1598) Hand-coloured engraving on paper Gift of David Ross McCord McCord Museum, M5572
“The Americas, or the New World,” is the earliest map in the McCord Museum’s collection. The work of Dutch cartographer Abraham Ortelius, it was part of the first modern world atlas, Theatrum Orbis Terrarum. First published in 1570, the atlas contained 53 maps and achieved such success that 25 editions followed during the author’s lifetime. This 1579 version mapped the St. Lawrence River quite accurately.
Treasure 83
Stove from the Forges du Saint-Maurice, near Trois-Rivières, the first heavy industry in Canada
About 1840 Cast iron, brass Forges du Saint-Maurice, Trois-Rivières, Quebec McCord Museum, M992X.2.1
43 This stove is from the Forges du Saint-Maurice, Canada’s first ironworks. In 1730, François Poulin de Francheville, the seigneur de Saint-Maurice, near Trois-Rivières, received authorization from the king to extract the iron deposits on his seigneury, at his own expense. After 1742, the ironworks came under Crown control and continued to operate until 1880. During those years, they employed more than 100 specialized craftsmen and up to 400 workers, turning out wrought iron goods and cast iron pieces such as kettles, pots and stoves.
Treasure 84
Black walnut Regency chest of drawers, belonging to the Marquis de Lotbinière
1750-1760 Black walnut, brass Gift of Mrs. Southam McCord Museum, M14500
This black walnut Regency chest of drawers was probably made in France. It was among the furnishings of the Château de Vaudreuil, in Montreal, home of Pierre de Rigaud, Marquis de Vaudreuil, Governor of New France from 1755 to 1760. When he was forced to surrender Montreal to General Amherst on September 8, 1760, he returned to France and sold his residence and his seigneuries in Vaudreuil and Rigaud to his cousin Michel Chartier, Marquis de Lotbinière.
Treasure 85
Portfolios of views of Canada in a maple box, presented by William Notman to the Prince of Wales
1859-1860 Canada East William Notman (1826-1891) Silk, board, leather, German silver, albumen prints Gift of James Geoffrey Notman McCord Museum, N-0000.193.1-202
In 1860, William Notman presented this bird’s-eye maple box containing the Canada East and Canada West albums to the Prince of Wales during the grand opening of the Victoria Bridge. The large-format photographs and numerous stereographic views show the building of the railway bridge between the island of Montreal and the South Shore of the St. Lawrence, as well as several towns and villages in the Province of Canada, which became Quebec and Ontario in 1867.
44 85.A Canada West 1859-1860 William Notman Silk, board, leather, German silver, albumen prints Gift of James Geoffrey Notman McCord Museum, N-0000.193.203-319
85.B Wooden hand-held stereoscopic viewer 1860 Wood, glass Gift of James Geoffrey Notman McCord Museum, N-0000.193.321
85.C Maple box 1860 Bird’s-eye maple veneer, German silver, silk lining Gift of James Geoffrey Notman McCord Museum, N-0000.193.320
Treasure 86
8 x 10 plate camera used by Charles Notman
About 1920 Mahogany, metal, glass, rubber Folmer Graflex Corporation, Rochester, New York Gift of Mr. George A. Dudkoff McCord Museum, M2009.17.2.1-5
This mahogany 8 x 10 film or glass-plate camera was the last one used by Wm. Notman & Son. A Canadian Pacific agency, Associated Screen News Ltd., bought the studio in 1935 before selling it to one of its photographers, George Dudkoff (born in 1924), in 1954. George Dudkoff took portraits with this massive camera until 1993. He donated it to the McCord Museum in 2009.
86.A Tripod About 1920 Wood, metal Folmer Graflex Corporation Rochester, New York Gift of Mr. George A. Dudkoff McCord Museum, M2009.17.1.1-5
45 Treasure 87
Clock brought to Quebec City in 1639 by Marie-Madeleine de Chauvigny de La Peltrie, secular foundress of the Ursuline Convent
Mid-17th century Wood, iron, brass, lead, copper Gift of Mrs. Geoffrey S. McDougall McCord Museum, M978.72.1-8
This clock, brought here from France by Marie-Madeleine de Chauvigny de La Peltrie (1603-1671), was placed in the Ursuline Convent, the first school for girls in New France, founded in 1639. When starvation ravaged the colony, Madame de La Peltrie traded the clock for a cow from a local farmer. It remained in the farmer’s family until 1901, when a collector from Cap-Rouge acquired it.
Treasure 88
Three-piece silk velvet suit worn by Quebec City surgeon Philippe Louis François Badelart
About 1780, remodelled 1790s Silk ciselé velvet, silk lining, fabric-covered buttons Gift of Mrs. Herbert Molson McCord Museum, M18005.1-3
The suit reveals a personal side of the doctor who published instructions for treating a deadly syphilis-like disease ravaging the north shore of the Lower St. Lawrence, the “Mal de la Baie St. Paul,” in 1784. Arriving in Canada in 1757, Badelart was remembered as a fashionable man, “dressing as a Parisian would.” The original vivid orange of this suit can best be observed in the pleats at the lower edge of the back of the coat.
Treasure 89
Panorama illustrating the Taking of Quebec of 1759-1760
About 1885 Henry Richard S. Bunnett (1845-1910) Oil on canvas Gift of David Ross McCord McCord Museum, M880.1-3 and M883.1-3
46 David Ross McCord commissioned Captain Henry Bunnett to produce this flat 360° panoramic view from the Quebec City prison tower. Close examination of the second and third of the six paintings reveals three zones painted over to hide Martello towers, small defensive buildings erected by the British. McCord himself did the overpainting. The towers, built after 1805, were an anachronism in his intended recreation of the events at Quebec City in 1759-1760.
Christian Vachon; Ricardo Trogi
Treasure 90
Photograph album from William Watson Ogilvie’s travels to Europe and the Near East, acquired in 2010
1867-1868 Sommer & Behles; A. Beato; Wm. Hammerschmidt; Francis Bedford; Francis Frith; Frank Mason Good; Peter Bergheim; Robertson Beato & Co.; Dimitri Constantin; Paolo Conti; Canzi és Heller; Adolphe Braun; Achille Quinet; William Notman; Alexander Henderson and unknown photographers (active from 1857 to 1890)
Silk, board, leather, brass, wood, albumen prints Gift of Ms. Airlie Ogilvie McCord Museum, M2010.89.1.1-347
This unique album is a rare piece of photographic history. Of extraordinary size, content and historical value, it comprises 342 photographs amassed on an overseas trip in 1867-1868. William Watson Ogilvie (1835-1900), a well-known Canadian, was one of the founders of the country’s milling industry. Taken by leading photographers, the images chronicle Ogilvie’s Grand Tour of the Mediterranean and the capitals of Western Europe.
Hélène Samson
47 Conclusion
Our donors have made the McCord Museum a treasure in its own right.
Since its inception in 1921, the Museum’s original collection has multiplied many times over. Founder David Ross McCord’s vision has not only persisted, it has flourished. The collection continues to grow as individuals, families, and collectors recognize the historical value of objects in their possession, and entrust us with their safekeeping.
Together we preserve our heritage for future generations
48 Credits of the exhibition
An exhibition produced by the McCord Museum, under the direction of Suzanne Sauvage, President and Chief Executive Officer, and Dr. Nicole Vallières, Director, Collections, Research and Programmes.
Project management Anne-Sophie Gagnon Project Manager, McCord Museum
Exhibition Concept Cynthia Cooper Head, Collections and Research and Curator, Costume and Textiles, McCord Museum
Scenography Daniel Castonguay
Graphic Design Atelier Louis-Charles Lasnier
The McCord Museum Team Guislaine Lemay Curator, Material Culture
François Cartier Curator, History and Archives
Hélène Samson, Ph. D. Curator, Notman Photographic Archives
Christian Vachon Associate curator, Painting, Prints and Drawings and Head, Collection Management
Geneviève Lafrance Head, Exhibitions
Julie Pierrat Intern, Exhibitions
Anne MacKay Chief Conservator
Joan Marshall
49 Textile Conservator
Denis Plourde Conservation Technician
Caroline Bourgeois Collection technician
Karine Rousseau Registrar
Marilyn Aitken Photographer
Stéphanie Poisson Project Manager, Web and Multimedia
Hugues Boily Webmaster and IT Analyst
Pascale Grignon Director, Marketing and Communications
Sol Millàn Head, Communications
Nadia Martineau Marketing-Communications Officer, Public Relations
Julie-Véronique Aubin Marketing-Communications Officer, Promotion
Danielle Boucher Head, Education and Cultural Action
Stéphanie Robert Coordinator, Education Programs
John Gouws Chief Technician, Exhibitions
Marie-Hélène Rolko, Véronique Poupart, Guy Benson, Patrick Mailloux, Mélissa Jacques, Lysandre Parent, Simon Lalumière, Peter Aldworth Exhibition Technicians
50 Exhibition Modules ACMÉ Services scéniques Cartgo Services muséologiques
Graphic production Pro Séri
Sound and Video Production Christine Tremblay Corneau : Podcasts, production and direction Jean Garneau : Sound Engineer Sylvain Martel : Podcasts, filming and editing Virginie Bachand : Makeup artist
Revision and Translation Hélène Joly Pamela Ireland & Terry Knowles Colleen Ovenden France Gladu Emmy Bos Denise Parent
Conservation Chantal Émond Jessica Veervers
Our thanks to the creators that generously contributed to this project Marie Chouinard Claude Cormier Heidi Hollinger Helmer Joseph Yves Léveillé Mélissa Mongiat et Mouna Andraos Lorraine Pintal Sylvain Rivard Ricardo Trogi
Our thanks to our partners Ogilvie La Presse The Gazette
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