The Canadian Collector: Glass, Pottery, Furniture, Firearms of the 19th Century
“January 1, 1974 by Gerald Stevens. Contents for all forms of 19th century collectables. Price New from Used from Author
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English Pages 136 Year 1974
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nunc cocnosco
ex parte
THOMAS J. BATA LIBRARY TRENT UNIVERSITY
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The
Canadian
Collector
"
No. 1. Sugar Bowl and Cover: Deep aquamarine. Mallorytown Glass House (Circa 1825).
Made
at
The Canadian Collector Glass - Pottery - Furniture - Firearms of the Nineteenth
GERALD Author
an Introduction
F. ST. GEORGE Canadiana
COLES
STEVENS
of “In a Canadian
With
Curator,
Century
Attic’’
by
SPENDLOVE
Collections,
Royal
PUBLISHING COMPANY TORONTO, CANADA.
Ontario
Museum
LIMITED
COLES
©
COLES
CANADIANA
COPYRIGHT
1974
PUBLISHING TORONTO
AND
COLLECTION
PUBLISHED
COMPANY —
CANADA
BY
LIMITED
INTRODUCTION
grow collectively very passed much the same way ^N^ational that peoplecivilizations grow individually. Canadain has through infancy and childhood
in its national thought, and is now
end
period of adolescence.
of the troubled
troubles of the last quarter-century
have
Most
reaching the
of the world’s
been caused
by too much
nationalism;
it is rare indeed, and possibly unique, to find a nation
like Canada
which
possesses too little of this quality.
This has the
effect usually of an excessive respect for the ideas, contributions manufactures
of other nations, without
necessary for unbiased institutions. This is exactly what
examination
having
and
the critical faculty
of the merits
has taken place in Canada,
of one’s own and the effects
have been far-reaching. It is shown, for instance, by the large numbers of Canadians in the field of American education. At home they are undervalued in the United Anyone
who
States, however, has done much
of Canadian lecturers.
in relation to British and American
audiences
a Canadian
has a slight advantage.
lecturing in Canada
to underestimate
educators;
knows
the tendency
their fellow-Canadians
This is a sign of national immaturity
as
which will probably
be corrected in the near future. The next step will be Canada’s coming of age, and the emergence of a distinctive culture representing all that is highest in the thought of the country Canada
and its outlook on world affairs and cultural matters.
is remarkably
as soon as Canadians tion or hyphens,
free from the inherited hatreds of Europe, and can call themselves
Canadians
without qualifica¬
we can expect most confidently the creation of a new vii
Introduction
viii national type which
will have much
to offer in the building up of a
unified world civilization. A preliminary step in the creation of a sane and reasonable of Canadian origins.
nationalism
is to have
some
knowledge
spirit
of Canadian
History in books alone can be dull stuff, although the history
of Canada
presents a record of heroism
and
adventure
difficult to
equal elsewhere. When it becomes possible to “document” history by means of arts and crafts, it becomes much more alive and more truly the possession of our own Intellectually and
minds.
culturally Canadians
called a perfect inheritance.
The French
have
what
might
be
tradition was often the best
of its kind, and included bravery, chivalry, and exquisite discrimina¬ tion.
The spirit of the French
Renaissance
was brought
to Canada
before 1680 by Bishop Laval’s craftsmen, much as one would bring a potted plant, and it grew in its adopted country for a century after the parent plant had died.
Signed pieces of furniture by eminent
ebenistes were brought over by government
French
officials and the nobility,
and were intelligently copied by native cabinetmakers. Extremely fine altar carvings and candlesticks were made in Canada from almost the earliest times, while church Quebec
from
the end
and
secular silver was
of the seventeenth
century.
tradition was equally rewarding, and brought ing of personal stability and poise. furniture were brought Canada
Many
made
The
English
a possibly greater feel¬
fine specimens
out, and superb examples
of English
of English silver.
was fortunate to have had these two main currents of cultural
influences flowing in this direction, but it did not end there. American Canada
in
War
of Independence
and contributed
meant
an element
that many
Americans
of the Canadian
The
came
to
character which
Introduction
otherwise
IX
would
arithmetic
be much
to see what
have also contributed a composite
It does not require much
all this adds
up to.
Other
mental
national groups
extent, and the result has been
to a considerable
cultural heritage wide and varied in range and rapidly
unified in its character.
becoming The
needed.
typical Canadian
of the past has been a hard-working,
self-
respecting and generally very likeable individual and one cannot help respecting him. Upon a settler’s first arrival in Canada it was cus¬ tomary to build a log cabin. After the land was cleared and turned into tillage, prosperity usually came would
be far more
of human
nature.
ambitious. When
to the thrifty, and the next house
An aesthetic sense is an essential part
you look at the long-deserted sites of those
early log dwellings, you discover that they often commanded
a lovely
view of landscape
old lilac
or waterway,
bushes or flowers which wild.
and it is usual to find some
once escaped from the garden and now
This love of beauty
has found expression in many
grow
crafts and
applied arts of early Canada. Mr. Gerald
Stevens
tive and extremely particular embodies
has given us a carefully composed,
useful treatment
his treatment
of some
of early Canadian
very valuable pioneer work.
assisted by the researches able to say that “The
of Mrs. Lome
Edith
subjects.
glass and
In
ceramics
In the realm of glass he was Pierce.
I am
Chown
Pierce and Gerald
Glass,”
just presented
lection of Early
Canadian
Ontario
is the largest and most
Museum,
important
informa¬
complete
sibly the only collection — of early Canadian
happy
to be
Stevens
Col¬
to The
Royal
collection — pos¬
glass in any
museum.
Nothing can be more instructive concerning a person’s real motives in forming a collection than his final disposition of it, and it is gratifying
Introduction
X
when
people who
have taken such a keen interest in a subject take
the logical step of making generations.
their work
available and useful to future
This should be a normal many
people of some
other nations in the possession of a sense of obligation
what
true that the number
any notable contribution
their own
behind
might be called public teaching collections.
speaking, it is unhappily made
are still a generation
but
unfortunately
towards
Canadians
point of view in Canada,
museums
toward
of Canadians
the growth
the
Generally who have
and extension
of
is still very small.
The appearance of Mr. Stevens’ book could not be better timed. The rapidly rising interest of Canadians in their own national past is directing a floodlight of popular attention upon anything Canadian. Canadian
This has found
expression in the comparative
art objects recently sold.
about a hundred fine example
of early Quebec
values of
A Krieghoff painting of Canada
years ago recently fetched $23,500.
cost of good specimens
distinctively
A remarkably
pine furniture sold for $5,000, and the
of early Canadian
silver is often well into four
figures. Books and documents bearing upon Canada’s history have become very costly. Most book dealers consider Canadiana an important Canada
part of their business, and there are a number
who specialize in it to the exclusion of everything
these realms The
of collecting the demand
is greater than
fact that a particular kind of Canadian
museum
usually has a rapid effect upon
emphasizes
of dealers in else.
the supply.
craft is displayed
values, and a museum
the desirability and importance
In all
of some
in a
which
early Canadian
handicraft can expect to find itself priced out of the buying field in a few years.
It should not be supposed
that Canada’s
attainments
in the arts
Introduction
xi
are all in the distant past; such is not the case. ditional Quebec in abeyance
arts of silversmithing and wood-carving
for the moment,
the Province
schools of furniture designing and making also craftsmen
working
of pottery, however, recent years.
and arrangements
of the largest It is in the field
that the greatest progress has been
were made
tion to other Canadian
are apparently
has one
in silver, gold, and jewellery.
at The
the tra¬
in the world, and there are
The second of the Canadian
national scale opened
an adequate
Although
Ceramic
Royal Ontario
made
Exhibitions
Museum
in
on a
early in 1957,
to send the best pieces from the exhibi¬
cities on tour.
It is hoped that we may
and creditable representation
of Canadian
have
Ceramics
at
the Brussels World’s Fair, and at the accompanying International Exhibition of Modern Ceramics at Ostend, both in July, 1958. Vitreous
enamels
are also being made.
cultural renaissance
The
one gap in Canada’s
appears to be in the field of artistic glass-making,
and it is possible that there is not a single studio working glass in the whole
of Canada.
in decorative
It is probable, however,
bringing energy, initiative, and a certain measure the field of decorative glass would
that anyone
of artistic talent to
find himself famous
within a year.
This is a challenge to the ambitious, and one hopes it will find an early acceptance. To familiarize Canadians fathers have important Quebec Canadian
accomplished
of the present day with what their fore¬
in the applied arts, has always
function and object of The
Gallery
of the Museum
Royal Ontario
contains
gallery there are many
silver. The John Langdon
Museum.
The
a collection of French-
furniture extending over about two hundred
and in the same
been an
fine specimens
and fifty years, of early Quebec
Collection of early Canadian
silver flat-
xii
Introduction
ware covers completely
the period from 1700 to 1850, and constitutes
the finest representation
of the subject in any
furniture is well represented by many
museum.
fine specimens
Ontario
of the “Ontario
Georgian” type, usually executed in cherry and curly and bird’s eye maple. This Ontario furniture in light woods is of great interest, the designs being simplified forms of George the dignity and sometimes Sigmund
Samuel
IV styles, retaining however
the classic form of their prototypes.
Canadiana
The
Gallery, a detached gallery of The Royal
Ontario Museum at 14 Queen’s Park Crescent West, possesses a superb collection of prints, portraits, topographical water-colours and oil paintings, maps,
medals
and paper money,
history of Canada.
Exhibitions
are changed
illustrating the entire three times yearly and
special facilities are granted to students. Mr. Stevens
has done
a splendid piece of cultural spade-work.
It is to be hoped that he will continue to do it, and that the work be taken up by others.
The history of Canada
contains much
proud of, yet it will be a long time before Canadian manufactures mented.
become
sufficiently well-known,
One hopes that The Canadian
of books on related subjects, making
will to be
arts, crafts and
described
and
docu¬
Collector will be one of a series
it plain to the Canadian
of today
that the past has been a long flight of steps, and that the present has a high level of achievement The
to start from.
integration of a unified national consciousness,
a Canadian
sense of identity, is taking place rapidly, and is causing comment
both
admiring
lady
and
critical. “Canadians?”
said a brisk American
recently. “They are getting too big for their clothes!” Quite true and well said, but then the clothes have always been too small. F. St. George
Spendlove.
CONTENTS CHAPTER
Introduction
1
Early Canadian
by F. St. George Spendlove
V. The VI. The
Glass
Hamilton
Glass
Maker
Works Glass
St. Lawrence
Works
Glass
2M
I
Canadian
China
6 ....
Works
12
.... .
.
.
.15 17
and Pottery
allo ry o wn I. t Staffordshire Canadian Views Glas s H ouseand Pottery II. Canadian China .
Canadian
12
Glass Maker, .
23
.... .
.
.
. TheIII. A Check List of Early Canadian Potters . Glass Facto ries 4 of th e Sei gnior 5 Canadian Cabinetmakers y of
4
9
.
VII. John Herring of Napanee: Founder and Builder
.
3
.
C. Spence:
IV. St. Johns
vii
Glass
Vaudreuil III. John
PACE
Gunsmiths
23 .37 .
43
49 77 99
Bibliography
xiii
LIST
OF
ILLUSTRATIONS PAGE
No.
1. Sugar Bowl and Cover: Deep aquamarine. Made at Mallorytown Glass House (Circa 1825) .......
ii
2. Pitcher: Deep aquamarine; applied handle; threaded neck; super¬ imposed decoration of a lily-pad type. Made at Mallorytown Glass House (Circa 1825) ........
7
3. {In background ) Flask, Tumbler, Vase. Made at Mallorytown. {In foreground) Shards of Fire Pots; chunk of Raw Glass (deep aquamarine) ; and Shards of Glass; all excavated at the site of the Mallorytown Glass House ........
10
4. Four Vigil Lights, attributed to the Canada Stained & Ornamental Glass Works (John C. Spence) Montreal. Colours: deep blue, pale amber, deep blue, olive, green {Circa 1855). (Centre ) Lamp: deep amber; applied handle; ribbed pattern. Made at the Canada Glass Works, Hudson (Vaudreuil) {Circa 1870) ....
10
5. Four Mercury Glass Candle Sticks, and a Free Blown Druggist’s Jar, having a pressed cover, and decorated with applied rings. All made at the Napanee Glass Factory (John Herring) {Circa 1882)
20
No.
6. Historical China: “Indian Scene on the St. Lawrence” (Lake Series). By Francis Morley & Co. ......
25
No.
7. Historical China: “Georgeville” (Eastern Townships). (Lake Series). By Francis Morley & Co. ......
25
No.
8. Historical China: “Rideau Canal, Bytown” (Ottawa). (Lake Series). By Francis Morley & Co. ......
26
No.
No.
No.
No.
No.
9. Mark
usually found on reverse of Canadian views manufactured by Francis Morley & Co. Important because many pieces are otherwise unmarked ......... XIV
26
xv List of Illustrations PAGE
No.
No.
10.
Historical China: “Village of Cedars” (Lake Series). By Francis Morley & Co. ..........
28
11.
Historical China: “Church at Point Levi” (Lake Series). By Francis Morley & Co. ........
28
29
No.
12.
Historical China: “Chaudiere Bridge” (Lake Series). By Francis Morley & Co. ..........
No.
13.
Historical
China:
No.
14.
Historical
China:
“Quebec.”
By
Podmore,
No.
15.
Historical
China:
“Quebec.”
By
Enoch
No.
16.
Mark usually found on reverse of pieces manufactured by Enoch Wood & Sons. Titles vary according to view shown on face of piece ............
33
33
“Village of Cedars.”
By T. Godwin Walker
Wood
&
&
.
.
29
Co.
.
31
.
31
Sons
.
No.
17.
Historical China: “Commodore MacDonnough’s Victory.” By Enoch Wood & Sons .........
No.
18.
Historical
China:
No.
19.
Historical
China:
No.
20.
Historical & Son
China: “Shannon and Chesapeake .” By John Rogers ...........
36
No.
21.
Historical
China:
38
“Montreal.” “Quebec.”
By
Davenport
(Unknown
“ Shannon ” (Frigate).
&
Co.
maker).
By John By
.
.
...
Rogers
& Son
Joseph
Heath
No. 22.
Historical China: “Ontario Lake Scenery.” & Co .
No.
23.
Pitcher of the “Rockingham” type manufactured by G. H. Farrar, at St. Johns, Quebec. .........
No.
24.
Specimen of the “Ironstone” tablewares manufactured Farrar . . . . ■ • • ■
34 35
38
40
by G. H. • .41
XVI
List of Illustrations PAGE
No. 25.
No. 26.
Reproduction of Mark used by the St. Johns Farrar) ......
Pottery
(G. H.
41
Nineteenth-century Canadian Stoneware. (In Backgro und ) Milk Bowl with lip, attributed to White, Hamley & Co., Brockville, Ont. Bowl,
Crock, made by Flack and Van Arsdale, Cornwall, Ont’ attributed to J. E. Dalkin & Co., Cap Rouge. (In Fore¬ ground) Ginger Beer Bottle, attributed to White, Hamley & Co., Brockville, Ont. Bird Whistle, excavated at the site of the Erastus Duloe Pottery, Aultsville, Ont. Jug, attributed to White, Hamley & Co., Brockville, Ont. . .
No. 27.
Cupboard
No. 28.
Chair.
No. 29.
Commode.
(Bahut)
Birch
of birch.
and
curly maple.
Maple.
Armchair.
No. 31.
Drop-leaf Table. Curly century ....
Birch.
Chest
No. 33.
Cupboard. Curly teenth centu ry
French-Canadian,
and Miniature
maple.
Chest.
maple
and
Louis
French-Canadian,
French-Canadian,
No. 30.
No. 32.
French-Canadian,
Upper
51
XIII
Louis
42
XIII
Louis XV
52 53 55
Louis XV
Upper
Canada,
Canada,
butternut.
nineteenth
nineteenth
Upper
56 57
century
Canada,
nine¬
59 60
No. 34.
Tables: (Left), Curly maple; (Righ Upper Canada, nineteenth century t), Cherry
No. 35.
Bookcase. Curly maple, bird’s eye Upper Canada, nineteenth century maple, butternut,
No. 36.
Chairs. Late Sheraton; Bow back Upper Canada, nineteenth century.
and
curly maple.
and walnut 61
No. 37.
Windsor;
“Country”
type.
“Canadian Regency^’ Chair. Curl y and bird's eye maple. Upper Canada, nineteenth century. Candle Stand. Curl y maple and black oak. Upper Canada, ninet eenth century
62
64
xvii
List of Illustrations
PAGE
No. 38.
Four
No. 39.
Exact reproduction of the Markings shown in illustration No. 38.
No. 40.
typical “Canada”
Rifles
86
. found on the Canada .
Rifles
86
(From top to bottom) : A “Tower” Flintlock Pistol of the eighteenth century. A Pistol of a similar type after having been converted to a percussion.
Nineteenth
century
pistol stamped
“W.
Clayson”
No. 41.
Early Canadian
Knives
No. 42.
Accessories
No. 43.
Depicts the details of the “Scrimshaw” decoration on two Powder Horns. The maps and other markings are relative to the early days of the fur trade .........
87
and Tomahawks
used with muzzle-loading
88 88
.
firearms
....
89
Early Canadian
Glass
Early Canadian
_Lhe literature on early Canadian
Glass
glass consists of only two
pamphlets, both collector’s items. The listing here, therefore, of early Canadian glass houses, operators and workmen, sheds some light on a little known This
book
does
early Canadian not pretend
to be a complete
industry, its products and designs. the Canadian wherever Those who
factories operating
possible the names
who know
survey
of the
It does cover, in a broad outline, in the nineteenth
of owners,
have any information of authentic
industry.
century, giving
operators
about glass workers
pieces of early Canadian
and
workmen.
and designs, or
glass of any type,
will greatly assist in the research on this subject by informing author or the Royal Ontario The shrouded
of many held.
Museum.
glass houses
of the French
in mystery.
Directories and newspapers
century depended names
upon
Accurate
even after 1800.
be of great importance
documentary Indeed
Regime
evidence
remain
of the eighteenth the absence
to research in this
is often lacking up to and
it is not until 1845 that directories provide
sufficient detail to assist in distinguishing articles manufactured
in Canada
paid listings. This often meant
which would
the
in Canada.
3
the particular types of
4
The Canadian
Collector
Search for a specific design used by a silversmith, a pewterer a glass maker, was
not helped by the fact that the cuts used in the
headings of advertisements
were
same
firms.
for several competing
years.
This was
many
usually of a stock type, being the The practice continued
the case in advertisements
vessels, railroads, gunsmiths Thus
and
many
of the pieces attributed
some
of this glass was
It is necessary to determine corresponding
for steam
other
Indeed
it may
originally of Canadian
which
through
operated
Glass
was
located one
the
these methods
House
mile west
to have
been
of the village of
Ontario.
Exhaustive
search of early records, atlases, directories and other
sources of documentary
proof would
indicate that this factory did not
exist.
Nevertheless,
of the
nineteenth
showing
the location of a building along with shards of worked
that this glass house operated century
has
been
established
fire pots and the materials necessary for the making the raw state and in semi- and completely-fused where
and by
used in making
factory, the earliest so far proven
in Canada,
Mallorytown,
manufacture.
visits to museums,
describe the methods
I. Mallorytown GLASS
be doubted
it is attributed.
various types of glass, and provide the dates in which were used.
THIS
sailing
if the glass is of an age and technique
can be obtained
the study of books
and
lines of endeavour.
with that of the glass house to which
This knowledge
for many
in recent years to specific glass
houses could be of doubtful authenticity. whether
or
in the early part by
excavations glass,
of glass, both in
masses, only occurring a glass factory could have been in operation.
Early Canadian
5
Glass
But earlier dates of this glass house have been deduced
from the
writer’s interviews with elderly people who have spent their lives in the Mallorytown district, many of whom are over eighty years of age — including one gentleman of a proven one hundred and three. All these agree that during their lifetimes the location of the factory was
a sod-covered
held showing
no traces whatsoever The writer has signed statements to this effect. This, despite the absence
county
accuracy Canada town
of listings in local records, directories,
histories, etc., tends
established
at an even
to prove
that this glass house
earlier date than
of the listings of all types after 1845, and the absence
down
hitherto estimated.
of establishments
of any mention
works, suggests that 1825 would
history, orally handed
of buildings.
The
in Upper
of the Mallory¬
be a safe assumption.
in the Guild
was
Family
family of Mallorytown,
indicates that this glass house was a total ruin in 1831. Products
of the Mallorytown
glass excavated
Glass House:
From
pieces of worked
at the site of this glass house, and from oral descrip¬
tions of pieces said to have been in the possession of the descendants of the United
Empire
Loyalists who
founded
the village of Mallory¬
town, it has been established that the commercial glass works
consisted of bottles.
manufactured
output of the local
This was the type of wares
usually
at that period.
As was the custom
of the times, however,
at the end of the working
period, make
the glass blowers would,
drinking glasses, vases, witch
balls, pitchers, flasks, sugar and other types of bowls, and various pieces for use in and about their homes. Pieces of this classification, authenticated at the Mallorytown
as having been made
works, consist of a sugar bowl, a flask, a vase,
6
The Canadian
a tumbler, and a pitcher. concerning imposed
The latter confirms a much
this particular glass house.
decoration
described
Collector
discussed point
The pitcher has the super¬
as lily-pad, and
also a superimposed
spiral thread of glass winding about the neck, known as “threading.” All of this glass so far authenticated is of a brilliant aquamarine colour.
Not one of the shards examined
by the writer and a number
of experts indicates that the Mallorytown moulds.
All pieces examined
Although
much
several worked
In many
of the
of the slag and worked
the site are of the aquamarine
manufactured
are
workmen
free-blown
pieces suggest that a secondary
technique. at
of the slag and
colour of glass was
This needs further investigation.
cases the colours of the glass made
in the early glass
houses resulted from the types of local materials used. of the Mallorytown
use of
pieces of glass excavated
colour, a lesser amount
for a short period.
made
works, the aquamarine
In the case
colour was caused
by the
ores occurring in a vein of quartz located within a very short distance of the glass works, and which
was found
to have been used by the
glass makers.
II. The
Glass
EVIDENCE confusing.
Factories
of the Seigniory
of Vaudreuil
of the existence of these glass houses
is slightly
The first listings found by the writer are contained
in an
1857 directory. This directory lists, “Ottawa Glass Works, C.E. [Canada East Quebec]. A village in the Seigniory of Vaudreuil. A large business is carried on here in the manufacture
Further
on in the same
British American
of glass.”
directory (in the v’s) we find listed the Glass Works, Henry W. Jones & Co., proprietors,
at Pointe a Cavagnol,
Vaudreuil, C.E.”
No. 2. Pitcher: Deep aquamarine; applied handle; threaded neck; superimposed decoration of a lily-pad type. Made at Mallorytown Glass House (Circa 1825).
8
The Canadian
Collector
Apparently we have two glass houses; but Harper's Statistical Gazetteer, published in the same year, lists only one glass house, and this under
“Vaudreuil
County.”
Further
confusion
find in John Lovell’s Chronology of Montreal 1893 (and covering the period 1752-1925)
arises when
and Canada
we
for the year
that: “Desbarats
& Derbi-
shire start a glass factory at Vaudreuil, A.D. 1847,” and also: “The Montreal Glass Co., at Hudson, makes chimneys, bottles and insulators, A.D. 1866.” The problem is solved when, in an 1871 directory, we find listed, “Canada
Glass Works
Co., Ltd., Hudson.
Pointe a Cavagnol.” Thus we find that the Vaudreuil
Hudson
formerly called
referred to is the county
and
not the village, and that “Ottawa Glass Works, C.E.” was a postal address used by the glass works established by Desbarats & Derbishire in 1847 because of its distance from the village of Vaudreuil; that the “British American Cavagnol,
Vaudreuil,
Glass Works,
Henry
C.E.,” is an inaccuracy
compiler of the directory in the use of “Pointe
A further confirmation North America,
is found
further,
W. Jones, Pointe a on
the part of the
a Cavagnol.”
in Lovell’s Gazetteer of British
for the year 1874, which
Cavagnol. It contains a glass factory.” The conclusions to be reached about
lists — “Hudson,
the Vaudreuil
or Pointe a
glass houses
are that there was only one glass house, but that this was operated under several managements, the earliest being that of Desbarats & Derbishire; that it was Canada’s
second earliest glass works (and this is of importance) ; that the glass houses listed in Harper's Statistical Gazetteer, for the year 1855, include the Northern New York State factories of Redwood
and
Redford,
as well as the British American
Early Canadian
Glass Works. County
Glass
9
This establishes that, at that period, the Vaudreuil
glass house was
a contemporary
of the Northern
State glass houses and therefore of great importance The various names
Research
several Hudson themselves.
technique The
From
Apparently termed
amber
was
blown-moulded
The
Canada
III. j ohn OUTSTANDING
made
by the earlier
colour, and
used for making
the
these wares.
to the 1847 period that was
into a swirl pattern.
is of the 1860 period.
insulators.” the list.
were
favourite
was
similar type
Glass Co. was
a
attributed
glass blown-moulded
the Montreal
at the
vicinity — it has been deter¬
types of tableware
Later, a somewhat technique
manufactured
various sources — persons digging for proof of the
writer has seen a lamp
of amber
1847 1855 1866 1871
glass houses is as confusing as is that on the factories
that various
factories.
historically.
circa circa circa circa
on the types of wares
site, and people living in the immediate mined
York
and dates of this glass house were:
Ottawa Glass Works . British American Glass Works . Montreal Glass Company . Canada Glass Works Co. Ltd . Products:
New
of lamp
By 1866 we know
manufacturing
Glass Works
C. Spence:
among
was
but the
(Chronology ) that
“chimneys,
added
Glass
made,
bottles and
a preserving
jar to
Maker
early Canadian
glass makers
was
John C. Spence of Montreal. In 1855 we find that the “Canada Stained and Ornamental Glass Works, John C. Spence, Notre Dame
No. 3. Shards
(In background) of
Fire
Pots;
Flask, Tumbler,
chunk
of Raw
Vase. Made
Glass
(deep
at Mallorytown.
aquamarine);
all excavated at the site of the Mallorytown
and
(In foreground)
Shards
Glass House.
of
Glass;
No. 4. Four Vigil Lights, attributed to the Canada Stained & Ornamental Glass Works (John C. Spence) Montreal. Colours: deep blue, pale amber, deep blue, olive, green. (Circa
1855).
(Centre ) Lamp:
the Canada
deep
amber;
Glass Works,
applied
Hudson
handle;
(Vaudreuil)
ribbed
pattern.
(Circa 1870).
Made
at
Early Canadian
St., Montreal, embossed,
11
Glass
manufactures
every description of stained, painted,
cut and figured enamelled
glass, druggists’ show jars with
glass labels, etc.” The advertisement further lists glass in various colours. This suggests that Mr. Spence was a craftsman of various talents.
He
was
among
exhibit their products
the many
Canadian
at the Universal
Paris, and was represented
craftsmen
Exhibition
selected to
of 1855, held in
in two categories, class eighteen and class
twenty-four. Class Eighteen No. 327, Spence
(Glass and Pottery) contains one entry, that of
(J. C.), Montreal,
Class Twenty-four No. 354, Spence
(Furniture
(J. C.), Montreal,
Lower and
Canada:
‘‘Stained Glass.”
Decoration,
Lower
Canada:
Section 4) lists “Work
Table
of
Glass, Painted and Gilded.” Apparently the table was of out¬ standing importance as it was later sent to Sydenham Palace, Eng¬ land, where, with other pieces, it helped to form permanent
Canadiana
The Canada every
exhibit.
Stained and Ornamental
type of coloured
steamboat
the nucleus of a
Glass Works
manufactured
glass: stained glass; glass for railway and
signals; hollow and solid lenses; bent hand
lamp glasses;
glass signs; druggists’ show jars with coats of arms; tablets and glass labels. Mr. Spence
made
a specialty of glass for churches.
has been very fortunate in acquiring a number have
been made
“about
The
writer
of vigil lights, said to
1850, in a glass works
on Notre
Dame,
in
Montreal.” These vigil lights were of a type used in vast numbers in the Catholic churches of the period; they can be accepted as having been made
in this Canadian
glass house.
Several of these lights are ot a plain bulbous
design, and have a
12
The Canadian
flattened rim at right angles to the body of the piece.
Collector
Others are of a
ribbed pattern and have a folded rim.
were
Also in the writer’s collection are two stained glass vases which made at the Canada Glass Works. They are of a clear glass
stained a ruby colour. Directories show moved dropped
that, over a period of years, Mr. J. C. Spence
his establishment the manufacture
sources in Montreal, windows
several times.
after 1871, he
of glass which could be obtained
and continued
from other
as a specialist in glass for church
and the coloured door lights so typical of that era.
IV. St. Johns ALSO
Eventually,
OPERATING
Glass
Works
in the year 1855 were two Canadian
houses about which very little is as yet known. located in St. Johns, Lower
Canada
glass
The first of these was
(Quebec), and was owned
by the
Foster Bros., Glass Manufacturers.
The
second glass house was located in Toronto,
Upper
Canada
(Ontario), and was situated on “Niagara, near Tecumseh Street.” It is to be hoped that some one may have information concerning these “lost” Canadian glass houses and will have the great kindness to relay this knowledge to the writer or to the Royal Ontario Museum.
V. The
THROUGH
THE
Hamilton
Works
years research becomes
findings, and directories, etc., become of workmen’s
Glass
occupations.
more
In the case
more
accurate
in its
detailed in their listings of the
Hamilton
Glass
13 Early Canadian
Glass
Works, we cannot only list many of this firm’s commercial products, but also discover the names and house addresses of the glass blowers employed. As early as 1865 we find the advertisements Hamilton Works
Glass Works.
“manufactures
advertisement
Glassware.” Associated L. Moore
all kinds
of druggist’s
glassware.”
and
the shareholders
with
adds: “Bottle Manufacturers, the
firm were
L. H. Brooks. and mould
These
Geo.
The
to order.”
Flint and Green
Rutherford,
gentlemen
Glass
of every descrip¬
[is] made
to order, and other press work
advertisement
& Co.,
In 1869 we learn that the Hamilton
further states, that “private moulds
tion [are] made Another
of Rutherford
J. Winer,
were, presumably,
designers, as the glass blowers are listed
as such. The following glass blowers worked
for the Hamilton
glass house
during the early period of its operation: Joseph Charlton Peter Menard Francis Mitchell William Mitchell David Pancost
The
Samuel Pancost David Reed James
Stevenson
John Voll
actual dates of the periods of operation
of the Hamilton
glass house were as follows: 1865-66) Hamilton Glass Works 1 868-69 / and Warren Streets
1871 72/ Hamilton
Glass Works,
(Gatchell, Moore
309 Hughson
& Co.), Hughson
Street North
14
The Canadian
1872-731 Hamilton Glass Works 1874 / son Street North
(Geo. Rutherford
1875-7 6\ Hamilton Glass Works (Rutherford 1877 / and Macaulay Streets
9 1
Hamilton
1
, -852-876-88 1881188188 1888
Glass Works
Moore,
(G. Rutherford,
vice-president and managing
Glass Works,
Hamilton Glass Street North Diamond
Hughson
Co. (Diamond
president; Lyman director)
Street North
Glass
Co., Ltd.), James
Glass Co. Ltd. (Hamilton
Glass Works)
Diamond Glass Co. Ltd. (Hamilton H. H. Lloyd, manager)
Glass Works,
After this date, the Hamilton the Diamond
Glass Co., Ltd.
Glass Works
Ont., the Diamond
Products:
The
works,
and other branches
to form the Dominion
wording “Private
became
Glass Co. of Wallaceburg,
Flint Glass Co. of Montreal,
Glass Co. of Toronto, Co., amalgamated
apparently
In 1913, this firm, along with several
other glass houses, including the Sydenham
Hamilton
& Co.), cor. Hughson
(L. H. Brooks, manager)
Glass Works
Hamilton
1894-95
& Co.), 305 Hugh-
Hamilton Glass Works (Rutherford & Co., L. H. Brooks, manager), Hughson and Macaulay Streets
Hamilton
1893-94
Collector
of the moulds
the Beaver
of the Diamond
Flint
Flint Glass
Glass Co. Limited.
advertisements of every
used
description
by made
the to
Early Canadian
15
Glass
order,
establishes
capable
of designing
that
the earlier Canadian
and
“Bottles, Flint and Green
making
their own
Glassware,
Moulded
Jars” were products of this glass house. “green” referred to the bottles.
VI. The
St. Lawrence
We
Glass
glass houses moulds.
Wares may
Also
were that
and Druggist’s assume
that the
Works
A REPORT published in 1868, entitled “Statements relating to Trade, Navigation, Mining, etc., etc., etc., of the Dominion of Canada, and Annual Report on the Commerce of Montreal, for 1867,” is most helpful to anyone interested in data relative to that era. In the section listing “Glass and Glass-Works” are to be found statistics dealing with both imported and domestic glasswares. The
following excerpts suggest
of that period, although
that the Canadian
few in number,
insignificant output for home
were
glass houses
producing
a far from
consumption:
“The manufacture of Glassware in Canada during the past two years has reduced the imported article from 50 per cent in the average of the five years (1853-1857) above mentioned, to 41.26 per cent in 1865-1866. . . . The opinion has been expressed that the consump¬ tion of all kinds of Glass and Glassware by the population of the Dominion
(nearly 4,000,000) would
give employment
to twenty-five
glass furnaces — in producing the multitudinous articles now in daily use among all classes. . . . The constituents of Green Glass (except Soda- Ash, which would have to be imported) are abundant; and all the requisites for the production of Flint Glass may be said to be at hand.
. . .”
“Glass Works. — There Glass Works
at Hamilton,
are no particulars at hand in Ontario.”
respecting the
16
have
The Canadian
Collector
“The Canada Glass Co.’s Works at Hudson, Province of Quebec, been established for several years. The operations, which at
first were limited to the manufacture of Druggist’s Bottles, Telegraph Insulators, etc., have been recently much extended. . . .” “The St. Lawrence Glass Company have established their extensive works in the City of Montreal for the manufacture of Flint Glass. Operations were commenced in the Fall of 1867; it is not, therefore, possible to do more in this notice than to say that they have been projected on a scale abundantly large to meet the growing wants of the Dominion — that they are adapted to produce the finest kinds of pressed and cut Flint Glassware — and that under its enterprising directors and managers, the works are likely to be profitable as a pecuniary investment, while in every respect they will be creditable to the manufacturing
skill and enterprise of Canada.”
The special Montreal
section of the Province of Ontario Gazetteer
for the year 1869, published
by Robertson
& Cook,
Toronto,
lists
(page 626): “St. Lawrence Glass Co., — A. McK. Cochrane, Secty.” No further information is contained in that publication but this Montreal
establishment
“St. Lawrence
is listed in the Dominion
Glass Works,
Enoch
Egginston,
Directory of 1871 as Supt.,” with works
situated in “Coteau St. Augustin.” (This was a suburb of Montreal.) It was a sizeable undertaking and employed the following workmen, all of whom
lived in Coteau
St. Augustin:
William H. Grace, Glass Moulder James H. Moore, Glass Finisher Richard Davis, Glass Blower J. H. Coley, Glass Blower Patrick Herbert, Glass Blower Thomas Jones, Glass Blower George McCanal, Glass Blower John Perkes, Glass Blower Robert Squire, Glass Blower
Early Canadian
17
Glass
This glass house
produced
mainly
window
glass, but various
other types of glass have been traced to it. Canadian made,
as did the St. Lawrence
glass houses
works, telegraph insulators, lamps,
globes and, of course, druggists’ jars; also, to some degree — this varied with different glass houses — bottles of a larger type in which to store kerosene, vinegar, spirits and other liquids, including acids.
VII. John
Herring
of Napanee:
Glass
Maker,
Founder
and
Builder
JOHN came
HERRING
to Canada
Napanee,
where
(1818-1898)
was
typical of his times.
in 1841, settled in Kingston, and from there moved he established a foundry
facture of stoves, plows and
and engaged
to
in the manu¬
agricultural machinery.
noted as a contractor, and built schools and houses. made
He
He
was
also
In addition he
potash and bricks, and was one of the principal stockholders
the Napanee Canada
Paper Co. in the last half of the nineteenth
industrialized, and it was due to men
century
of glass still retained some
brought Canadian
of the romance
for centuries, and, although
heartbreak
and
poverty
glass and the lure of new
was becoming
of the calibre of John Herring
that she began to gain a foothold in world markets.
surrounded
in
with which
it was
to many ventures
The manufacture it had been
a business which
investors, the need induced
had for
Mr. Herring to
establish a glass factory. The principal product of the Napanee 1881, was to be window
Glass Factory, opened
in
glass. John Herring was not himself trained
18
The Canadian
Collector
in the arts of -glass making, and he therefore imported a number of glass blowers from Europe and workmen from the United States. Considerable countries.
friction arose between
Apparently
earlier techniques
which
the European were
Due
preferred
to mass
the
production,
of various types of glass wares
other
glass.
to lack of co-operation
the Napanee
Glass
Works
between
management
closed its doors
in the field of Canadian
and workmen
in 1883.
existence for a short period only, the Napanee mark
of the different
glass glowers
not conducive
and this led to the manufacture than window
the craftsmen
Though
in
factory left a definite
glass, producing
window
glass, glass
globes, druggists’ jars, and whimseys. Any
authentic
product
of an early glass house
But to the collector the whimsey, workmen The
is interesting.
or any special piece made
by the
for their families or friends, would
be of special importance. writer feels that either of these classifications could be used for
the “mercury glass” candlesticks known to have been made at the Napanee Glass Works, even though they have been found in sufficient numbers
(so far six have been discovered) to warrant
that they were
a commercial
sticks are worthy
of study.
product. They
In any
bases.
The
basic glass is clear.
case, these candle¬
vary between
inches in height, with three-and-three-quarter The
the conclusion
eight and
eleven
to four-and-a-half-inch
bases and
baluster-shaped stems have an inner coating of mercury, and therefore appear to be silvered. The socket into which the candle fitted was left free of mercury. The outer rim is serrated and the under side is decorated with a moulded socket and
Roman
Key
pattern.
The
size and
shape of the
rim are such that they suggest the use of a cup
plate
Early Canadian
mould.
The
a combination Much Works
19
Glass
complete
piece is quite typical of the times, and shows
of the free blown
and moulded
of the preceding information
techniques.
concerning the Napanee
was supplied the author by the late Mrs. Lome
glass collection included all of which
three of the candlesticks
Glass
Pierce, whose
and a glass cane,
Mrs. Pierce had, after careful investigation, authenticated
as being products of the glass house owned
by John Herring.
No. 5. Four Mercury Glass Candle Sticks, and a Free Blown Druggist's Jar, having a pressed cover, and decorated with applied rings. All made at the Napanee Glass Factory [John Herring], (Circa 1882).
Canadian
China
and Pottery
Canadian
I. Staffordshire
During Staffordshire, decorated
China and Pottery
Canadian
Views
the first half of the nineteenth
century the potteries of
England,
and
with
made
Canadian
table china
scenes, intended
other
for export
china
ware
to Canada.
This is generally referred to as Historical China. The method
used for decorating the pieces was somewhat
similar
to the “transfers” used today, which allow a coloured scene to be transferred (by wetting and other methods) to a new material or object.
The
central view
was
usually achieved
by use of a single
“transfer” but the borders in many cases were comprised of several sections. These borders are worthy of study for the potters never seemed
to duplicate the border decorations, although
known
to have
since many decoration
used similar views as the main
of the pieces are unmarked is the only means
credited with a specific item. the person examining by various potters.
a number
decoration.
Indeed
as to origin, the border
of establishing which
potter can be
That, of course, depends
upon whether
a piece knows
which
border designs were
This does not apply in the case of many
of sugar bowls, pitchers, and is omitted.
are.
other pieces where
the border
used types
design
24
The Canadian The
one
Canadian,
certain
American
prints, drawings, thought
method
of determining
or European
paintings and
whether
is to check
engravings
a view
the view
views
were
taken
relating to the country
from
In many
Canadian
Scenery,
a one- or two-volume
work published by N. P. Willis, London and illustrated by W. H. Bartlett.
If any view should be found which
is
with early
to be the inspiration of that particular scene.
instances the Canadian
Collector
(1842),
is not listed in this chapter,
and
it is thought to be Canadian, it is suggested that Canadian Scenery should be carefully studied to discover whether that work
is the source material of the view.
If not, it is a question of any or all early prints, paintings and engravings.
Each
of the listed views
engraving,
herewith
print, etc., from which
is named
the view was
either from
taken
or from
the the
title that, along with British registry marks, potters’ marks, etc., has been found on one or more pieces. Francis
are known known
Morley
as the “Lake
used
Series.”
a number
The
to be relative to the Canadian
potteries was Canadian The corner
& Co.
miniature
of Canadian
source
views
material
which
of all views
scene and produced
by these
Scenery.
platter (illustration No. 6) shows
of plate 91, vol. 2, entitled “Indian
Scene
the lower left on
the St.
Lawrence.”
“Georgeville” (Eastern Townships), plate 8, vol. 1, Canadi an Scenery, is the source material for illustration No. 7. This shows a plate decorated with the Georgeville view. Rideau Canal, Bytown” (Ottawa) is shown on illustration No. 8. The source material was plate 7B, vol. 2, Canadian Scenery.
No. 6. Historical
China: “Indian Scene on the St. Lawrence’’ Series). By Francis Morley 8c Co.
(Lake
No. 7. Historical
China: “Georgeville” (Eastern Townships). Series). By Francis Morley 8c Co.
(Lake
No. 8. Historical China: “Rideau Canal, Bytown” (Lake Series) by Francis Morley & Co.
(Ottawa).
No. 9. Mark usually found on reverse of Canadian views manu¬ factured by Francis Morley & Co. Important because many pieces are otherwise unmarked.
27 Canadian
China and Pottery
Illustration No. 9 shows of wares manufactured Canadian scenes.
the mark
by Francis
usually found on the reverse
Morley
&
Co., decorated
with
Plate 112, vol. 1, Canadian Scenery, entitled “Village of Cedars,” is source material for the view of the sugar bowl, illustration No. 10. The cover of the sugar bowl has the Georgeville view as a decoration. The
use of two or more
views on sugar bowls, vegetable dishes, etc.,
particularly pieces having covers, is quite typical of the methods to decorate the Historical China. Plate 8C, vol. 2, of Canadian
Scenery, entitled “Church
used
at Point
Levi,” is source material for illustration No. 11. Illustration No. 12, entitled “Chaudiere by plate 119, vol. 1, of Canadian Scenery. importance
to the Lake
Series, as the bridge shown
portion of the scene is the mark Canadian
Bridge,” was inspired This view is of some
pieces manufactured
in the central
usually found on the reverse of the by Francis Morley
& Co.
“Hallowed, Bay of Quinte,” is another of the views used by this firm. The title, as well as the view, were taken from plate 104, vol. 1, Canadian
Scenery.
The preceding list covers all Canadian been produced
at the Francis
Morley
possible that in time additional
views so far known
& Co. potteries.
Canadian
views
to have
It is quite
used by this firm
will be discovered. T. Godwin
was
another
of the Staffordshire potters producing
the Canadian views. Illustration No. 13 shows “Village of Cedars,” which view has been shown (illustration No. 10) as having been used by Francis Morley
& Co.
This illustration indicates the importance
No. 10. Historical No. 11. Historical
China: "Village of Cedars” & Co. By Francis Morley
(Lake Series).
China: "Church at Point Levi” (Lake Series). By Francis Morley & Co.
No. 12. No. 13.
Historical Historical
China: “Chaudiere Bridge” (Lake Series). By Francis Morley & Co. China:
“Village of Cedars.”
By T. Godwin.
30
The Canadian
of the border designs for, other than similar to No. 10. T. Godwin decoration Lake
also used plate 17, vol. 2, Canadian
of table wares.
Memphremagog,”
Ridgway,
Morley
Podmore,
views.
the border, the view
also, during the same
is very
Scenery, for the
This view, the title of which
was
Collector
is "Outlet of
period, used by
& Wear.
Walker
&
Co.
manufactured
Illustration No. 14 shows
a
series
of Canadian
one of the transfers used by this
firm, and was inspired by plate 96, vol. 1, of Canadian
Scenery.
The
title of this view is "Quebec,” and anyone checking illustration No. 14 with the plate from which it was taken finds that, as was usual, the potter added
to, or took away
from
the original, possibly to claim
originality.
In the case of this "Quebec” potter omitted a wharf in the immediate
view it is found
that the
foreground,
added
and
a
mountain
range and a distant row of buildings from plate 49, vol. 1,
Canadian
Scenery, listed as "Quebec
from the Opposite
Shore of the
St. Lawrence.” The potter also added a group of four figures, the central one of which — a soldier — is taken from plate 52, vol. 1, entitled "The
Plains of Abraham,
There are four other Canadian o Podmore,
Walker
additional
views known
& Co., one of which
source to illustration No. The
near Quebec.”
views
1, "Indian
plate 50, vol, 2, Canadian
is similar in decoration
Scene
are: "Kingston,
and
on the St. Lawerence.”
Lake
Scenery, "Montreal,”
vol. 1, Canadian Scenery; and "Navy vol. 1, Canadian Scenery.
to have been used bv
Ontario,”
inspired by
inspired by plate 114,
Island,” inspired by plate 90,
Incidentally, illustration No. 14, showing the Quebec and pitcher, is of an hitherto unlisted item in this series.
wash
bowl
No. 14. No. 15.
Historical Historical
China: China:
“Quebec.” “Quebec.”
By Podmore, By Enoch
Walker
Wood
& Co
8c Sons.
32
The Canadian Enoch
Wood
&
Sons:
Illustration
No.
view of a very dark blue vegetable dish made Wood
was
one of the most
important
15
shows
by Enoch
manufacturers
Collector
the
interior
Wood
& Sons.
of Historical
China. The cover of this piece has a large rose-shaped finial, and is decorated with three American views. This dish is titled on the reverse “Quebec,” and the view shows the citadel of Quebec as it was in the late eighteenth and early nineteenth centuries. The remainder of the marks
Source
material
Illustration No. 16 is the reverse of a plate decorated
with the
remains
are similar to illustration No.
16.
uncertain.
view “Fall of Montmorenci near Quebec,” and shows the typical eagle, shield, etc., used as a mark by Wood. The view decorating the face of this plate more
or less corresponds
of plate 50, vol. 1, of Canadian
with the upper left section
Scenery, entitled “Montmorency
Cove, near Quebec.”
When
dealing
impartial, and
with
so illustration No.
relating to Canadian Wood.
This
historical items
view,
17 shows
history which entitled on
one
was
the
must
another
of course
be
of the views
manufactured
by Enoch
face, is “Commodore
Mac-
Donnough’s Victory.” It is a very attractive piece, and shows one of the naval engagements of the War of 1812. The source of this view is unknown
to the author, but it is to be found in American
Historical
Views on Staffordshire China, by Ellouise Baker Larsen, a very worthy publication. Davenport
but the only one
&
Co.
reportedly
used
so far verified is shown
several
Canadian
views,
on illustration No.
18.
This view, entitled “Montreal,” is after an engraving published in Montreal by A. Bourne, and drawn by his associate, R. A. Sproule.
No.
16
Mark usually found on reverse Enoch Wood & Sons. Titles vary
shown No. 1 Historical
China:
of pieces according
manufactured to view
by
on face of piece. “Commodore
By Enoch
Wood
MacDonnough’s
& Sons.
Victory.”
No. 18. Historical
China:
“Montreal.”
By Davenport
& Co.
Canadian
No. 19.
Another scene, is very Simcoe,
Historical
similar to one
used by Davenport study is necessary. Illustration
“Quebec.”
including James
maker).
possibly relative to the Canadian
of the early drawings
titled “The
No.
maker.
(Unknown
Garrison
made
at York.”
has as yet been listed “unknown,”
19
The
lished by R. Short.
known
China:
view by Davenport,
in 1796, and
unknown
35
China and Pottery
and
shows
view
“Quebec”
by Mrs. The
and
manufactured
view
further
by
is quite similar to an engraving
an
pub¬
This view has been credited to several potters, Ralph
Clews.
Be that as it may,
and popular view has been found on various pieces.
this well-
36
The Canadian
Collector
g
No. 20.
Historical
China:
"Shannon
Of great interest to Canadians decorated
as shown
and Chesapeake.”
By John Rogers & Son.
are the various pieces of table ware
in illustration No. 20.
This is entitled “ Shannon
and Chesapeake," and shows the famous naval engagement which occurred during the War of 1812. The source of this view could be one
of several engravings.
platters of a larger size.
This scene has usually been
found
on
Canadian
China and Pottery
37 Illustration No.
21 shows
what
must
originally have
scene used on the plates which accompanied
All pieces so far
series, and having the large sea shell border, are
found in the Shannon
Jones
&
china known
& Son.
Rogers
to John
attributed
Death
the previously mentioned
This is a view of the frigate Shannon.
platters.
Son
were
the
manufacturers
as “British History.”
of Wolfe.”
The
group in the famous
source
Among
material
Samuel
painting by Benjamin
Canadiana
Gallery
of a
series
of views
on
these is to be found “The
of this view West.
this painting several times, and examples Sigmund
been the
may
is the central
Mr. West
repeated
be seen at either the
in Toronto
or the Dominion
Archives, Ottawa. Joseph
Heath
&
Co.
were
the
manufacturers
of a
Canadian
view entitled “Ontario Lake Scenery.” The name of the maker is usually found to be impressed, with the title printed under the glaze. Illustration No.
22 shows
a rare wash
with this view.
It is quite possible that the transfer was composed
of various bits taken from a number material is as yet unknown. Canadian
of contemporary
prints.
Source
Scenery as a partial inspiration.
ANY
was
and pitcher decorated
But the right side of the view suggests
II. Canadian
George
bowl
LIST H.
of native
Farrar.
Mr.
Canadian Farrar
one of the few Canadian
well as the stonewares nineteenth
century.
China
made
was
and
Pottery
potters must outstanding
potters to manufacture throughout
be headed in Canada,
table wares
the Dominion
by and
as
during the
No. 21.
No. 22.
Historical China: “Shannon” By John Rogers & Son.
(Frigate).
Historical China: '‘Ontario Lake Scenery.” By Joseph Heath & Co.
Canadian
39
China and Pottery
The earliest listings and advertisements
suggest that G. H. Farrar
was in partnership with others not having the family name. we find the firm of Farrar St. Johns, Lower
Canada
& Soule
listed as potters and located in
(Quebec).
Later, in 1857, a full-page advertisement Directory issued in that year. lists many
In 1851
This shows
items of manufacture,
is found in the Dominion a view of the factory, and
including “Stone
Ware,
Root
&
Ginger Bottles, Snuff Jars, etc.” In 1885 we Agency,
find G. H. Farrar
(Eben)
Farrar.
above
known,
Directory lists: “G. H. (George)
Manufacturers
of Stone
indicates that the St. Johns
continued
in business
for some
various types of wares, almost all of which The
Montreal
28 St. Flenry St., Montreal.
In 1871 the Dominion The
& Co. — Stoneware.
following
were
among
the
and
Rockingham
Pottery,
& L. E. Ware.”
as the firm was
time, and
manufactured
were marked.
master
potters
working
for
Mr. Farrar: David
Benac
Amable
Oliver Deslauriers
Maillet
Jean Gaudette
Alarie Comeau Illustration No. 23 shows manufactured
one of the Rockingham
type pitchers
by G. H. Farrar, at the St. Johns Pottery.
Illustration No. 24 shows
a typical specimen
of Ironstone
made
at St. Johns. Illustration No. 25 reproduces period.
the marks
Later, after Confederation,
used during the earlier
the letters P.Q. were
added. .
No. 23.
Pitcher of the “Rockingham” type manufactured G. H. Farrar, at St. Johns, Quebec.
by
No. 24. No.
25.
Specimen of the “Ironstone" tablewares manufactured by G. H. Farrar.
Reproduction
of Mark
used
by the St. Johns
(G. H. Farrar).
Pottery
42
The Canadian
Collector
No. 26. Nineteenth-century Canadian Stoneware. (In Background) Milk bowl with lip, attributed to White, Hamley 8c Co., Brockville, Ont. Crock, made by Flack and Van Arsdale, Cornwall, Ont. Bowl, attributed to J. E. Dalkin 8c Co., Cap Rouge. (In
Foreground) Bird
Ginger
whistle,
beer
bottle,
excavated at Jug, attributed the to
Illustration No. Canadian stoneware.
attributed
to White,
Hamley
8c Co., Brockville,
Ont.
site of the Erastus Dufoe Pottery, Aultsville,’ White, Hamley & Co., Brockville, Ont.
Ont!
26 shows
a collection of nineteenth-century
During
the latter part of the 1860’s the art of the potter was revived at the little village of Cap Rouge, where an earlier pottery established during the French Regime had operated. We find that the Dominion
Directory for the year 1871 lists an ‘‘extensive” pottery being operated in Cap Rouge by J. E. Dalkin & Co. The company agent was Rainton Philippe, and the master potters were Honore Dumaine
and Onesime
Voyer.
This helps to establish the fact that the location was suitable for potteries.
43 Canadian
China and Pottery
III. A Check
THE
List of Early
Canadian
list shows
the Canadian
FOLLOWING
during the nineteenth bottles, etc.
Upper
century whose and Lower
are listed under their modern 1. Canadian
names
Canada, names,
may
Potters
be found on crocks,
and Canada
Ontario
potters working
West
and Quebec.
Potters Established before 1875
Joseph Adam, St. Clements, Ont. John Anderson, Orangeville, Ont. J. Bailey, Bowmanville, Ont. H. Baker, Thorold, Ont. O. L. Ballard, Cornwall, Ont. Jos. Belanger, Quebec City, Que. Jos. Belanger, St. Denis, Que. John Bennet, Canboro’, Ont. N. Bergeron, La Presentation, Que. A. Bierensteil, Bridgeport, Ont. Peter Blackie, Paris, Ont. X. Bochler, New Hamburg, Ont. V. Bohler, Egmondville, Ont. L. Boivin, Les Eboulements, Que. Geo. Boissonault & Co., Quebec City, Que. Bridden & Booth, Thorold, Ont. J. B. Briere (Bruyere), Yamachiche, Que. H. Brittain, Waverley, Ont. John Britton, Delaware, Ont. Wm. Britton, Wellington Square, Ont. Brown Bros., Weston, Ont. J. & J. Brown, Carlton West, Ont. Wm. Brown, Don, Ont. J. Brownscombe, Welcome, Ont. Wm. Brownscombe, Peterbouro’, Ont. Jas. Bryce, Cannifton, Ont. Wm. Calder, London, Ont. Campbell Bros., Wellington Square, Ont. W. & R. Campbell, Hamilton, Ont. Wm. M. Carlton, Brantford, Ont. Barnet Collins, Streetsville, Ont. B. Collins, Orangeville, Ont. David Collins, Streetsville, Ont.
and East,
44
The Canadian F. Courtemanche, St. Denis, Que. Geo. Cudmore, Don, Ont. Wm. Cullis, Morpeth, Ont. Wm. Culp, Fulton, Ont. G. Curtis & Son, Shakespeare, Ont. J. E. Dalkin & Co., Cap Rouge, Que. A. Darns, St. Eustache, Que. Richard Defoe, Charlesville, Ont. P. Diefenbacher, Bridgeport, Ont. Erastus Dufoe, Aultsville, Ont. Cyrus Eby, Markham, Ont. Wm. & C. Eby, Conestogo, Ont. John Elliott & Bros., Aultsville, Ont. J. & P. Elson, Hyde Park Corners, Ont. Gordon Empey, Charlesville, Ont. Flack & Van Arsdale, Cornwall, G. C. Fowler, Colborne, Ont. O. J. Fowler, Colborne, Ont.
Ont.
Louis Gendreau, St. Denis de Montreal, Que. L. Gendron, St. Gabriel de Brandon, Que. Gillespie & Mace, St. Johns, Que. F. P. Goold, Brantford, Ont. Marcil Guertin, St. Denis de Montreal, Que. John Harvey, Delaware, Ont. C. Hess, Zurich, Ont. W. V. Hollinshead, Dundas, Ont. O. Hornsby, Halifax, N.S. Thos. Humberson, Willowdale, Ont. F. Humberstone, Newton Brook, Ont. Robert
Irwin, Streetsville, Ont.
John Jacoby, Waterloo, Ont. Chas. Jonbert, Ste. Flavie, Que. P. & G. Jonbert, St. Denis, Que. O. Joubert, La Baie, Que. J. & C. Kuehner,
Hanover,
Ont.
Magloire Labelle, St. Eustache, Que. A. Lambert, St. Eugene, Ont. F. Lambert, St. Denis, Que. Jas. Lambert, Beauharnois, Que. J. Lang, Hudson, Que. Cyrus Little, Beamsville, Ont. Chas. Lyons, Lynden, Ont.
Collector
Canadian
45
China and Pottery A. Marlatt, Port Ryerse, Ont. T. Martin, Brantford, Ont. Matteson & Wallace, New Hamburg, Ont. McCaghey & Dolbec, Quebec City, Que. Hugh McClosky, Hornby, Ont. James McClosky, Tara, Ont. James McCloskey, Kilsyth, Ont. Geo. McConnell, Norval, Ont. Thos. McConnell, Aultsville, Ont. C. Mederschein, Quebec City, Que. Jos. Metivier, St. Ours, Que. John Mitchell, Brantford, Ont. Jos. Montigny, Montreal, Que. Hugh & John Mooney, Prescott, Ont. Morton & Bennett, Brantford, Ont. F. Murkley, Inkerman, Ont. John
Fitzroy Harbour,
Ont.
Daniel Orth, Campden, Ont. L. Ouelet, Village des Aulnaies,
Que.
James
Que.
Wm.
Neilson,
Patton Ramsay,
& Co., Montreal, Thorold,
Ont.
J. B. St. George, St. Hyacinthe, Que. Wm. Schwabb, Beamsville, Ont. Jos. Shearsmith, Hamilton, Ont. A. Sheltz, Church Hill, Ont. Chas. Sibley, London, Ont. S. Skinner & Co., Picton, Ont. J. P. Smith, Paris, Ont. Oliver Smith, Brantford, Wm. Wm. Wm.
Ont.
Spence, Hollen, Ont. Spence, Port Ryerse, Ont. Steele, Yamaska, Que,
M. Stumpfle,
Preston, Ont.
P. Tellier, St. Cuthberts,
Que.
Matthew Thompson, St. John, N.B. Isaac Trapier, Beauharnois, Que. A. Wagner, Berlin (Kitchener), R. Wallace, Paris, Ont. Wm. Walmslev, Kilsyth, Ont. John Waltz, Heidelburg, Ont. Warner & Co., Toronto, Ont.
Ont.
Welding
Ont.
& Belding,
Brantford,
46
The Canadian
F
R. Wescott,
.
Peterboro,
Ont.
Ont Londo Moses White house n, Ont. Al,mir Jos. Wide man, a, Jos. Wideman, Stouffville, Ont. Thos. Winfield, Hamilton, Ont. & J. A. Wh ite
, St. John,
2. Canadian
N.B.
Potters Established
after 1875
Ignatz Bitschi, Mildmay, Ont. M. Booth, Thorold, Ont. E. W. Bradwin, Mt. Forest, Ont. Jos. Bradwin, Wingham, Ont. J. H. Burns, Albion, Ont. J. R. Burns, Toronto, Ont. Moses
Curtis, Invermay,
Ont.
John Davis & Son, Davisville Geo. Drake, Beaverton, Ont.
(Toronto),
A. Elliott, Cannifton, Ont. A. Elliott, Russell, Ont. Jos. Elliott, London East, Ont. Sam. Exchenbeger, Delaware, Ont. Gray
& Betts, Tillsonburg,
Hart
Bros. & Lazier, Belleville, Ont.
John Jarvis, Tavistock,
Ont.
Ont.
G. I. Lazier, Picton, Ont. J. Lemon, Owen Sound, Ont.
W. W.
D. Martin, Cataraqui, Ont. McNally & Co., Montreal, Que.
H. Rosenthal,
Toronto,
Ont.
Alex Sinclair, Kilsyth, Ont. Wm.
Taylor,
Beaverton,
Ont.
J. Weber, Egmondville, Ont. White, Hamley & Co., Brockville,
Ont.
Ont.
Collector
Canadian
Cabinetmakers
Ca n adian Cabinetmakers
Ihe splendid native furniture of the French rarity.
is today of exceeding
closely held by the present
French-Canadian
others appointed graciousness
It was
consist of
of the organizations
and
during
the early periods of
were inspired by those prevailing in that the Seigneurs
only natural would
by the King
possible into what
was
are
France.
predominant
cabinetmaking
country.
the mother
in Canada
specimens
in the main,
who,
owners
originally peopled New
basic designs
The
cases authentic
seigneurial descendants
ecclesiastical and families who
In most
Regime
to introduce
wish
must
and
whatever
the ultimate
have seemed
in primitive surroundings.
The earliest influence stemmed
from the somewhat
austere styles
of Louis XIII, and was of almost architectural severity. gradually gave way the rococo was
style of the late eighteenth
introduced.
Regime turning.
to that of the Louis XIV
Throughout
cabinetmakers Thus
This trend
period, and eventually
century, or Louis XV
period,
the several periods the early French
employed
expertly the arts of carving and
we find that the authentic
pieces still extant
are in
these respects superior to those of the later periods of Canadian cabinetmaking.
50
The Canadian
With
the final conquest
tion of contemporary reached 1812.
of Canada
style and
cases, did not Canadian. Canada
result in designs which
recognized
the cabinetmakers
the superabundance
countries, were considered
Although
continued
of styles, although
Eventually,
in Canada
until after the War important
could
of
in isolated
be called typically
of both Upper of woods
and Lower
which,
in other
beautiful in themselves.
it cannot
originated a style which
and the introduc¬
design, cabinetmaking
a transitional stage which This co-mingling
by England,
Collector
be
said
that
Canadian
influenced design throughout
cabinetmakers the world, they
did, -in many cases, adapt those of France and England. Through modification of design, chiefly functional, and the use of Canadian woods
they produced
authentic
Canadian
many
pieces easily recognizable
The
following illustrations show during the French Regime: Illustration Canadian
as being of an
origin.
No.
27
shows
an
types
of furniture produced
eighteenth-century
French-
birch cupboard,
or Bahut, and exemplifies the detail given to an item which, if produced in Upper Canada, would have been of elementary
design.
Illustration No. 28 is a chair of birch and curly maple, also of the Louis XIII period. This chair is interesting not only from an historical point of view, but as an example of how the severity of the furniture of the period was being relieved by the turning s given to stretchers and spindles.
The maple commode
illustrated in No. 29 exemplifies the changes
inspired by the later Louis XV period. The severity of line is gone. The handles, in this case of iron wrought into forms typical of the
No. 27.
Cupboard
(Bahut) of birch. French-Canadian,
Louis XIII.
No. 28.
Chair.
Birch and curly maple.
French-Canadian,
Louis XIII.
No. 29. Commode.
Maple. French-Canadian, Louis XV.
54
The Canadian
French
Regime, are much
refinement
when
more
compared
elaborate.
Collector
The whole suggests a new
with pieces of the earlier period.
The chair illustrated in No. 30 is another splendid example Louis XV
period of cabinetmaking
in New
France.
The
of the
fine atten¬
tion to detail demonstrates that period.
The wood
the rococo trend in design introduced used in this construction is birch.
These pieces are truly indicative of a dawning
at
native Canadian
culture, for although the designs were inspired by the mother country, the use of birch and maple makes them distinctively Canadian. This use of woods
native to North America, rather than the oak, mahogany, etc., preferred by cabinetmakers on the Continent, was
rosewood, continued Canada.
The terms But
well into the eighteen-fifties in both
nineteenth
Chippendale,
throughout
century introduced Hepplewhite,
LTpper and
Lower
the styles designated
by the
Regency,
etc., to the Canadas.
this period- until the designs of the Victorian
era
supplanted although
The
all others— the influence of the English cabinetmakers, strong, was of secondary importance in many sections.
following illustrations show cabinetmaking:
specimens
of Upper
Canada
Illustration No. 31 shows a drop-leaf table of curly maple . The legs suggest a design similar to that of the Hepplewhit e, but the simplicity, the overall use of figured maple, and the locale in which it was found, indicate that it is a product of Canada. The chest of drawers and the miniature chest illustrated in No. 32 are typical of Upper Canada cabinetmaking during the 1830’s . The large chest has a frame, the top of which
is dovetailed
to the sides,
as No. 30. Armchair.
Birch. French-Canadian, Louis XV.
No. 31.
Drop-leaf
Table.
Curly maple.
Upper
Canada,
nineteenth
century.
No. S2.
Chest
and Miniature Chest. nineteenth century.
Upper
Canada,
58
The Canadian
made
from butternut.
The lipped drawers
Collector
are of beautifully figured
maple. The
miniature
chest shown
readily authenticated
in the same
illustration is again
as being of Canadian
design is of course Empire.
But
craftsmanship.
the English cabinetmakers
The would
never have combined curly maple (spacers on drawers), bird’s eye maple (top), ash (applied turnings), figured walnut veneer (drawer fronts), and a frame of solid walnut. Illustration No. 33, although of Ontario origin, shows a cupboard influenced by the Bahut the severity of which grain of the wood
of Quebec.
illustrates the Upper
rather than the Lower
other additions to basic design. drawer
It is of a somewhat
The
Canada
Canada
frame
rare type,
reliance on the
use of carving or
is of butternut, and the
and door fronts are of curly maple.
The
tables illustrated in No.
Hepplewhite, Canadian
and
(right) Sheraton.
manufacture.
of curly maple.
34 show
The
The
the influence of (left)
Nevertheless,
these
table on the left is constructed
are
wholly
table on the right has a base and drawer
of cherry, with a top of curly maple.
front
These woods, and the modifica¬
tions in design, are a reliable indication that these tables were imported
from England
The
bookcase
mingling Canada
not
or the Continent.
illustrated in No.
of woods.
of
This
specimen
35 shows can
a characteristic
readily be attributed
co¬ to
and, in particular, Ontario, by the fish-tail type of termination
on the upper sections of the frames of doors. used throughout it evolved
Upper
Canada,
especially in the rural sections, where
into a serrated fish-tail finial which
boxes of many
types.
This is a form widely is to be found on wall
No.
33.
Cupboard.
Curly maple and butternut. nineteenth century.
Upper
Canada,
No. 34.
Tables:
No. 35.
(Left), Curly maple; (Right), Cherry Upper Canada, nineteenth century.
and
curly maple.
Bookcase. Curly maple, bird's eye maple, buttern ut, walnut. Upper Canada, nineteenth century.
and
►
No. 36.
Chairs:
Late Sheraton; Bow back Windsor; Upper Canada, nineteenth century.
“Country”
type.
Canadian The
63
Cabinetmakers three chairs shown
all districts of Ontario.
in illustration No. 36 are to be found in
The
central chair is of a Windsor
design,
having the deep “saddle seat” typical of the late eighteenth and early nineteenth centuries. The curly maple cane-seated chair on the left, although
more
Provinces.
readily found
The plank-seated
tion (Leeds County,
in Ontario, was
manufactured
chair on the right shows
Ontario) of a type which
was
in both
a local varia¬
manufactured
in
great numbers from 1820 until the 1880’s, and includes the so-called rabbit-ear arrow-back. Illustration Canada.
The
is unique.
No.
37
shows
design, although
These
chairs have
an
armchair
influenced been
found
therefore can be said to be of Canadian
produced
in Upper
by that of the Regency, in some
design.
The
numbers, woods
and
used in
construction are curly and bird’s eye maple. The accompanying candle stand is purely a local type and adjustable.
Several of these stands, and also music
is
stands using a
similar principle, have been found in south-eastern Ontario.1 This chapter on Canadian cabinetmakers is limited to those
craftsmen
during the first half of the nineteenth
working
Especially in the cities and towns and
Toronto,
Hamilton
Canada,
Canada),
the styles of earlier periods were
nineteenth more
century.
cosmopolitan
and
Kingston
continued
And, as several advertisements
craftsmen
and Quebec
(other than Montreal
in Lower
sometimes
century.
in Upper
well into the
suggest, even the
reverted to what
they would
have spoken of as antique designs. ’For a detailed explanation of the techniques of manufacture, and detect both the age and construction of early Canadian furniture, consult:
the methods
used to
In a Canadian Attic, by Gerald Stevens. The Ryerson Press, Toronto; and The Furniture of French Canada, by F. St. George Spendlove, Curator, Canadiana Collections, Royal Ontario Obtain¬ Museum of Archaeology, Toronto. (Reprinted from The Connoisseur Year Book, 1954. able from the Royal Ontario Museum.)
No. 37.
“Canadian nineteenth
Regency,” Chair. Curly and bird's eye maple. Upper century. Candle Stand. Curly maple and black oak. Upper Canada, nineteenth century.
Canada,
Canadian
Cabinetmakers
Moreover, Canada
65
documentary
evidence
is usually so generalized
something
relative to earlier times
in
that, unless an actual invoice or
similar is discovered, a specimen
must
be catalogued
as
being of a type, rather than the product of a particular artisan. When makers, would
the writer first began compiling a list of Canadian
he approached
be both meagre
The
the subject with the expectation
that the list
and difficult to obtain; but it proved otherwise.
following excerpt from a census taken in 1851 will suggest
the wealth of material which of Canada,
is to be found.
It was entitled “Census
as regards trades, professions and useful employments.”
Artists of all kinds.
Architects, Sculptors, &c. :
Upper Canada — 218 Jewellers, Watch and Clockmakers:
Lower
Canada — 259
Upper Canada — 200 Lower Chair, Cabinetmakers, and Upholsterers:
Canada — 147
Lower Upper Canada — 1258 Shipwrights, Carpenters, Joiners, &c.:
Canada — 379
Upper Blacksmiths:
Canada — 8367
Lower
Canada — 8923
Upper Weavers :
Canada — 4235
Lower
Canada — 2840
Upper Canada — 1738 Brick-Makers & Potters:
Lower
Canada — 166
Lower
Canada — 50
Upper
Canada — 92
This “census” was compiled when Canadas consisted of 1,842,265 persons.
The
shipwrights, carpenters
would, of course, be comprised whom
cabinet¬
manufactured
the total population
and joiners listed in such numbers of craftsmen
the greater number
furniture of the “Country”
1 Of the “Country” type. A term Cosmopolitan areas.
of the
used to designate less elaborate
of
type1.
furniture sold in both rural and
66
The Canadian
Included works
were
England, follows.
in the census represented
in 1851.
Wm.
Drum,
Reed
& Meakins,
are the names
at the Grand
of cabinetmakers
Exhibition
A partial list of these craftsmen
Quebec,
Lower
Canada:
Collector
6 embroidered
whose
held in London, and their wares
chairs.
Montreal,
L.C.: black walnut centre table; sofa; rocking chair; “6 black walnut chairs, elaborately carved, needle¬ work coverings — style of 14th century — intended as a present to Her Majesty the Queen, from the ladies of Montreal.”
J. & W. Hilton, Montreal, L.C.: spring back table; walnut pier table; tete-a-t6te. James
Morice, Montreal,
S. Redhead,
Montreal,
L.C.: walnut
L.C.: 2 walnut
William Allen, Montreal, chairs.
L.C.:
sofa; walnut
centre
bedstead. chairs.
1 drawing-room
chair; 6 rocking
A number of advertisements are worthy of note, indicating particular types of furniture that had been manufactured. James Beckett, Belleville, Canada West: ‘‘Every description of furni¬ ture constantly on hand, or made to order . . .”
Robert & William Dalrymple, Sofa factory.”
Eben
Wood, Bytown, workmen.”
C.W.:
Brantford, C.W.:
“Every
“Cabinet,
Chair and
article in the line made
by good
Porter A Hoodless, Hamilton, C.W. : “Chair & Bedste factory every description of Rocking, Windsor, Cane ad Seat and Rush Bottom Chairs . . . and Bedsteads.” George Hunter, Kingston, C.W.: “Cabinet rooms . . . constantly on hand, or made
and upholstery to order.”
ware-
Hilton & Baird, Montreal, Lower Canada: “Curled Hair Mattra and Feather Beds. Mahogany and other woods for sale.” sses
J. Fraser, Montreal, L.C.: “. . . constantly on hand. . . . Feathers and Upholsterers’ trimmings.”
Curled
Hair
Canadian
John
67
Cabinetmakers
Johnson, Montreal, L.C.: "... a very superior stock . . . made under his own inspection . . . Hair Mattrasses and
Feathers.” Reed & Meakins, Montreal, L.C.: “Manufacture furniture cabinet- ware ... in both ancient and modern style.”
and
G. Thomas, dit Bigaouette, Quebec, L.C.: “. . . every description of Cabinet-ware, looking-glasses, &c. ...” William Drum, Quebec, L.C.: “A superior stock of furniture con¬
stantly on hand.” Jacques & Hay, Toronto, C.W.: “Cabinetmakers Windsor and cane seat chairs.”
and Upholsterers,
George Roberts, Toronto, C.W.: “Furniture . . . Cotton and Hair Mattrasses, Feather Beds, and Straw Palliasses made to order.” & Dining Owen M’ Garvey, Montreal, C.E.: “Sofas, Centre, Card tables . . . Desks of all kinds . . . 3000 Wood Seat Chairs, 2000 cane seat do. of 30 different patterns.”
A work which has been of inestimable value to persons interested is the report, “printed
in Canadiana Assembly,” France).
Canada
This
chosen
report
gives
by appointed
as a reliable source craftsmen
Exhibition
at the Universal
exhibition and the Canadian were
by order of the Legislative
exhaustive
of information
(Paris,
concerning
the
And, since these exhibitors
exhibitors. committees,
details
of 1855
the report is to be accepted
about
the outstanding
Canadian
of the times.
The following is a list of the Canadian at the exhibition
and,
wherever
cabinetmakers
represented
possible, a description
of their
products.
William Drum, Quebec, L.C.: “Chair.” As this chair was awarded a Medal, Second Class, in competition with examples of the world’s outstanding cabinetmakers, it is worthy of special mention. It was a “Chair of Curled Maple, covered with leather, embroidered with Moose Hair.” It was afterwards sold for £3.
68
The Canadian
J. & W. Hilton, of Montreal, for a “Sofa and Chairs.”
Collector
L.C., also received a similar award
Wm. Bevis, of Hamilton, U.C., and Owen M’Garvey, of Mon¬ treal, L.C., received honourable mentions. Mr. Bevis' entry was a mosaic table,” which table was specifically mentioned in the recapitulation remarks. Mr. M 'Garvey’s entry consisted of rocking chairs. There were several other items entered in this class, but apparently these were listed under the names of owners rather than manufacturers. *
The
remarks
appended
the exhibition, are most self-explanatory :
to the report, and of course made
interesting.
Here
after
is an excerpt, which
is
The articles exhibited by Canada in this class, while they serve as specimens of cabinet and other work connected with househ old furniture, present at the same time the qualities of our useful woods. The round table (Bevis) shews them all united in a sort of mosaic work: visitors will remark the beauty of our bird’s eye maple, our black walnut, and, more particularly, of our curled maple, a’ fine specimen of which is presented in the boudoir chair (Drum) .
“Upon inspection of a magnificent couch of bird’s eye maple, among the inimitable productions of Parisi an cabinet making, I was informed, that while the beauty of this wood for purpos es of cabinet making and room pannelling was generally apprec iated, it was excluded from general use, on account of its high price, and the difficulty of procuring it. I was surprised at this inform ation, from the fact that this wood is so abundant in Canada as to be used for iuel.
There
are several other categories of Canadian craftsmans hip which, although not to be found listed as cabinetmak ing, are relative to woodworking. These are Spinning-wheels and Clock s. A con¬ densed
listing of the artisans manufacturing
Among
the makers
U C. (Mr. Brough
of spinning-wheels was
these types follows.
were: R. Brough, Gananoque, the only spinning-wheel maker chosen to
Canadian
Cabinetmakers
represent Canada Choquet,
69
in the Universal
Among
the clockmakers
Cockburn,
Sherbrooke,
Stacey, Montreal, were: John L.C.; G.
L. Garniere,
Montreal,
L.C.;
J. N. Martyn,
Hamilton,
C.W.; Thomas
Charles James
of 1855); Alexander
St. Denis, C.E.; Peter Cress, St. Jacobs, C.W.; Pierre Paridis
& Son, St. Denis, C.E.; George
John
Exhibition
Sewell, Toronto, Vance, Toronto,
The
Carswell, Toronto,
D.
Edward
C.E.
Darling, Simcoe,
Magill,
Hamilton,
McMurray,
U.C.; U.C.; C.W.;
Toronto,
U.C.;
U.C.; J. B. and R. Twiss, Montreal,
L.C.;
U.C.; and Samuel
Wheeler,
following is a list of early Canadian
Dunnville,
cabinetmakers
C.W. which
will be of assistance to collectors. The
list is compiled
of the artisans arranged a piece was manufactured determine
to whom
with the names
of places rather than those
in alphabetical order.
The
is of prime importance
the specimen
may
when
be attributed.
are listed by their original names. Allenburgh, C.W. Amherstburg, C.W. Ayr, C. W.
Daniel Williams Lewis Butts C. R. Mosser
Bath, C.W. Beamsville, C.W. Bedford, C.E. Belleville, C.W.
D. T. Forward
Berlin, C.W. Bowmanville,
C.W.
Bradford, C.W. Brantford, C.W.
Henry Maghell B. Agar James Beckett E. P. Russell John Hoffman & Co. Noah Zeigler Robt. S. Manning Geo. Wright Davidson & Mosier Bacon & Chave Daniel Clifford R. & W. Dalrymple J. DunbarRyan Michael
Brighton, C.W.
locale in which
J. C. Simpson
attempting Towns,
to
etc.,
70
The Canadian Geo. Stewart
Brockville, C.W. Bytown, C.W. Caledonia,
James Walkley Ebin Wood
C.W.
E. & J. F. Moore John Matthews Domonique Coutlie
Cayuga, C.W. Cedars, C.E. CKambly, C.E. Chatham, C.E. Chatham, C.W. Chippawa, C.W.
John Oliver Quinn Aitken R. O. & R. Smith
Clark’s Mills, C.W. Coburg, C.W. Cornwall,
C.W.
Drummondville, Dundas, C.W.
Durham,
C.W.
C.E.
John Meriam Thos. Andrews Henry Huff Geo. Stephens John Shirkey Austin
Morse
Cowper & Builder O. W. Everitt Lewis Lewis Alex. Morrison
Eaton, C.E. Embro, C.W.
T. Wiggins Wm. Halliday
Farmersville, C.W. Franktown, C.W.
Archibald Jackson Robt. Lever
Galt, C.W.
John Barbour Arch. Buchanan A. Malcolm
Georgetown, C.W. Georgeville, C.E. Goderich, C.W.
Eligah Travis E. B. Rider Daniel Gordon S. Lamontagne Urbain Gravelires David Harvey Robt. Dickson
Granby,
C.E.
Grenville, C.E. Grimsby, C.W. Guelph, C.W.
Jacob Kenith G. W. Allen J. Hayton
Hamilton,
C.W.
Bain & Hastings P. Balfour J. J. T. S.
Blackford Dodsworth Hilton Meadows
Munroe, Williamson Porter & Hoodless James
Reid
& Morton
Collector
Canadian
Cabinetmakers
71
Hannahsville, C.W. Hawksbury, C.W. Hemmingford, C.E.
W. Colloden Geo. Hodgins Wm. Peacock
Ingersoll, C.W.
J. Buchanan
Homer Campbell Wm. Featherston A. Snelgrove Jordan,
H. Summerman
C.W.
Kemptville,
Kingston,
C.W.
C.W.
Thos.
Baldwin
J. Condell Jos. Wolfe H. Baseman 0. T. Butler H. Goodearle Hatch & Son W. Holgate Geo. Hunter Thos. McDermot Adam Main A. O’Loughlin
Lanark,
C.W.
Jas. Drysdale
Lancaster, C.W. Lennoxville, C.E. Lloydtown, C.W. London,
Jas. Gemmill John Steward Wm. Hall Geo. Darling Robt. Greenlees W. Bissell E. Brilliard W. Clark H. Coombs
C.W.
JEgar E. P. Ellis Jeffrey & Sons R. Mountjoy & Sons Wm. Till Magog, C.E. Manningville, C.E. Mariatown, C.W. Melbourne, C.E. Merrickville,
C.W.
Merritsville, C.W. Milford, C.W. Millbrook, C.W.
Hornson Bullard Thos. Hill C. S. Nevins Jas. Cairnie & Son David Sloane Sam. Langford Robt. Riddell Jas. Wright S. B. Crabb Thos.
Hetherington
The Canadian
72 Millcreek,
C.W.
Millroches, C.W. Milton, C.W. Milville, C.W.
Thos. Darley L. Dow A. S. Trewel I. Brooks Ben. Jones H. Wilmot E. Foyke Thos. Robins Wm. Vanstone
Montreal,
C.E.
Wm. Allen Geo. Armstrong T. Bacon J. C. Beers Jas. Bell Jas. Burrell C. Collins J. G. Daly L. Fortier Jos. Fraser S. Fraser E. Gates J. R. Griffith Hadden Hilton & Baird J. & W. Hilton L. Hodgkinson J. Johnson M. F. Johnson Wm. M’ Master Chas. Mearnes R. Moore Jas. Morrice Thos. Mountain Pariseau &^ro. Pierre Poulin H. Ranson T. M. Redhead Reed & Meakins Chas. Robertson R. & R. Robinson Wm. Selkirk
Moulinette, C.W. Mount Pleasant, C.W.
J. Tweedy Jos. Wray S. W. Bisbee J. Ellis J. Soules
Newboro’,
C.W.
James
Leech
Collector
Canadian
Cabinetmakers
Newburgh,
C.W.
Newcastle,
C.W.
Newhope,
C.W.
Newmarket,
C.W.
Norwichville, Oakville,
C.W.
C.W.
Orillia, C.W. Orono, C.W. Oshawa, C.W. Otterville, C.W. Owen Sound, C.W. Paris, C.W. Perth, C.W.
Peterboro’,
C.W.
Picton, C.W. Port Burwell, C.W. Port Dover, C.W. Port Hope, C.W.
Port Port Port Port Port
Maitland, C.W. Robinson, C.W. Rowan, C.W. Sarnia, C.W. Stanley, C.W.
Prescott, C.W. Preston, C.W.
Geo.
Ekens
J. Fularton Chas. Allin Fuller & Beachan B. H. Maybee J. Treleaven J. Ernst Chas. Karch A. Schmidt J. Millard S. Roodhouse Wm. Addison Geo. Bleakley David
Duff
Young & White N. Morrison C. C. Haight Thos. Fuller & Co. J. Johnston J. Chisholm Wm. Holmes Jas. Laycock QDavid Hogg ’ Jas. Hurley |\ Thos. Poole jas. Gillespie Rufus Sawyer J. Pielcher J. Simpson Fred. Honor W. F. Russell R. D. Smith C. D. Parnell Wm. Roberts J. R. Davis & H. F. McKenzie F. Mahon Geo. Waters Robt. Reid Justus Bechmann Chas. Gerster F. Guggisterg J- J- Zingg
Quebec,
C.E.
J. B. Bertrand W. H. Boomer J. Cartwright J. & J. Cole
73
F
.
The Canadian
74 Quebec,
C.E. (Continued )
C6t£ & Deroche N. C6t6 A. Cowan Thos. Craig
ThDarv Di os e on Th . aDur um S. osF.o le y P. Fo ur F. P. Gnaier gn on P. Gi lm Lo Gouur ui e Ale s Ha rard dd x. Ale He an nd S. xK.e er ar so M. Ke ne n ll y y L. La co st F. Lafleur e Thos. Lariviere J. S. Lepine Marmette J. Miller J. Parant Chas. Pitt A. Rickabv P. Roy G. dit B. Thomas T. Roy' J.J.O. Vallier Richmond, Richmond, Richmond, Richmond Rimouski,
River
C.E. C.W. C.W.
1 2
Hill, C.W. C.E.
Trent, C.W.
Jos. Labont6 H. Patterson G. & R. Mastin J. H. Woods J. Hurst Gaspard Dion Bernard Duberger Tobie Marchand Ed. Forrest Jas. Quinlan
St. Ami£,
C.E.
St. Andrews,
C.E.
Jos. Lapolice Benoni Milette A. Henry John Black Pascal Laliberte
St. Anicet, C.E. St. Catherines, C.W.
John Stackhouse Louis Choquette Thos.
M ’Intyre
Collector
75
Canadian St. St. St. St.
Cabinetmakers
Jacques, C.E. Jean Chrystome Luce, C.E. Marc, C.E.
St. Mary’s,
de Montreal,
C.W.
St. Polycarpe, C.E. St. Thomas, C.W. Scotland, C.W. Shannonville, C.W. Sherbrooke, C.E. Simcoe, C.W. Simcoe Falls, C.W.
C.E.
B. Rov H. & R. Hall B. & J. Mignault Jerome Pepin Bodman & Levy Thos. Jones Joachim Lavigne Aitkins & Mitchell Alex. Love L. Whitney Robt. Pagan W. E. Bryant J. L. Scott Wells
Smith’s Falls, C.W. Smithville, C.W.
M. O’Loughlin W. Bartlett C. Cutler E. Harkness
Stanbridge, East, C.E. Stewartstown, C.W. Stonebridge, C.W.
Josiah Moore Neavins Jones E. Boyce
Stanford,
C.W.
Wm. Kerr & Bros. Sanford Smith
Streetsville, C.W7.
Temperanceville,
C.W.
Thamesford, C.W. Thorold, C.W. Three Rivers, C.E. Toronto,
C.W’.
G. Schooley Geo. Hay
J. Hoover G. P. Waterman J. S. Godfrey Jas. McIntyre T. Rickabv J. A. Browning John Butters J. Campbell Jas. Clezie E. Drayton T. Fenwick Jas. FieldFrench Richard Robt. Fullarton E. B. Gilbert G. Hawksworth Geo. Hetherington Wm. Hutchinson John Jacques Jacques & Hay J. Kitson J. Lander
76
The Canadian
Toronto,
C.W.
(Continued )
Thos. Linfoot March & Church Wm. Marks W. Mitchell Jas. Myers Hugh McNeil T. D. Parker Robson & Wilson Geo. Roberts Thos. Ryan Archer Shaw J. & E. Sheppard Thos. Stephenson J. Struthers Wm. Swallow Wm. Wallis Wm. Watts H. B. Williams J. H. J.E.Williams Willmot Wilson & Haigh Wisman & Chanley
Uxbridge,
Vankleekhill, Vienna,
A. G. Hemphill
C.W.
E. Darion Wm. Ferguson E. Glover
C.W.
C.W.
A. Wilson
Wardsville, C.W. Waterdown, C.W. Waterford, C.W. Waterloo, C.E. Wellington Square, Whitby, C.W.
Williamstown, C.W. Williamsville, C.W. Wilton, C.W. Woodstock, C.W.
Lilly & Saunders J. A. Barber Mitchell M. L. Lawerence C.W.
J. Saunders W. Caldwell W. Shaw Wm. Till Chas. Wilkinson P. Gadbois D. Beaty Jas. Basbinder JohnCollins Bain W. Alex. Grobb H. Inglesgrove Jas. Johnson J. Norman Robt. Robertson
Yorkville,
C.W.
J. Rennie
Collector
Canadian
Gunsmiths
Canadian Gunsmiths
lhe collector has, of late years, become craftsmen
almost as interested in
who, long ago, created the objects in a collection as he is
in the collection itself. And
this is especially so in the case of arms
and their accessories. A specific type of firearm may numbers
as to be commonplace
been made
in such
in one country, but because of having
in very limited quantities, a rarity in another.
the country The
have been manufactured
Therefore,
of origin is of prime importance.
first step in attempting
to determine
the country
in which
a firearm was produced is to examine it for “proof marks.” If found, these would usually indicate that the arm was a product of one of the many
European
countries exporting
since the proof marks
of these countries
research is unnecessary. custom
to assume
This have
that the arm
that part of the nineteenth When
It is now
gunsmiths — in many every
century
the self-contained
metallic
79
further
known
States. that there
cases these were
section of the Canadas when
And
is found it has been the
was a product of the United
is no longer necessarily so.
been Canadian
America.
are well known,
But if only a name
facturers” — located in almost use.
guns to North
muzzle-loaders cartridge
“manu¬ during
were still in
superseded
the
80
The Canadian
powder
horn and the percussion cap, and mass production
order of the day, the local gunmaker became
disappeared,
a repairer rather than a maker
Collections of smallarms
Collector
became
the
and the gunsmith
of smallarms.
will undoubtedly
include types which
are listed as matchlock, snaphaunce, and the “doglock” types of flintlock, and may be presumed that these were made in Canada. But
as yet researchers
have
been
evidence relative to these types.
unable
However,
period establishes the fact that Canadian lock and percussion rifles and shotguns the Canada The
to obtain
documentary
data pertaining to a later gunsmiths
in some
produced
numbers.
flint¬
Indeed,
rifle can be a study in itself.
Canada
rifle resembles
the Kentucky
and
Hawkins
They often have very ornate trigger guards, patchboxes,
rifles.
silver inlays,
and quite intricate checkering, and the inletting of barrels and actions is of excellent workmanship.
The
calibres vary, as was
usual in
those days, from the squirrel rifle type with a calibre only slightly smaller than barrels and
.30 to the big game calibres approaching,
The stocks were usually made or from the ever-popular
It was
types having and
sometimes
century
was widely practised throughout
Quebec.
Until then the hunters were
or England.
and
the advent
that the craft of the
what
is now
Ontario
and
explorers of these territories
usually armed
with guns
supplied from
Indeed, until quite late in the nineteenth
century, the great trading companies as trade goods.
With
greater than, .60.
curly maple.
gunsmith
either France
heavy
from walnut, often of a figured variety,
not until the nineteenth
and of the Maritimes
amazingly
were importing guns to be used
of the nineteenth
century,
and
the flow of
Canadian
Gunsmiths
Canadian
settlers continuing
from
the sea ports and
81 and therefore farther
to the westward,
cosmopolitan
centres where
obtained
readily, the need for the local gunsmith
of these
craftsmen
locating in communities
arms
could be
resulted in many
which
could
absorb
their output. It is found blacksmiths
that a number
or bellhangers
and were listed as such.
quite difficult — and in many evidence
that would
county
primarily
This makes
gunsmiths
histories, and
make. the
consists of studying early newspapers,
those directories which
tions carry advertisements
it
cases impossible — to find documentary
doing research on any type of Canadiana,
persons as well as their names ments
were
identify signed guns as of Canadian
As is usual when search for Canadian
of these gunsmiths
and addresses.
list the professions of Many
as well, and it is through
of these publica¬ these advertise¬
that specific types of articles, including those of secondary
interest, may
be established
as having
been
made
or dealt in by
the advertisers. These
advertisements
give a cross section picture of the times,
and indicate the specialties of a few of the Canadian
One
of the most
throughout Toronto,
interesting of those, who
the first half of the century,
Upper
Canada.
in the days when
was
may
be found
James
He was one of a number
the flintlock was still considered
gunsmiths.
who
listed
Ashfield, of were active
to be the ultimate in
firing mechanisms.
One
of Mr.
Ashfield’s
later advertisements — in the
Canada
Directory of 1851 — helps to establish that it was during this period that the percussion method of ignition completely superseded the flintlock.
His advertisements
reads: “Gun
& Rifle Manufacturer—
The Canadian
82
Collector
Guns neatly Percussioned.” By this time, what is now considered a sad state of affairs had become a universal practice and, a great percentage
of the earlier and
more
interesting flintlocks had
been
converted into the “cap and ball” type of arm which is, today, much more readily found. Mr. Ashfield was one of the two Canadian gunsmiths — the other was rifles were
chosen
Exhibition
held in London,
Another
note.
Not
England,
gunsmith
entries in the Grand
should be brought
to the attention
Michael Judge was what could be called a craftsman
leaves behind
to give variety to modern
but he represents the
collections of early Canadiana.
is listed in a number
of directories.
But
Michael
Lovell's Canada
this entry: “Michael
Gunsmith, Silver & Goldsmith. Guelph, C.W.” Another advertisement indicating the type
and the manner
Judge —
of rifles made
makes
“All Kinds
of Gain
Twist
Top and Bottom.” One of the greatest rarities in the field of early Canadiana of the gunsmiths
centres listed pistols among strange as it may
in
in which they were made, states that Charles
Pauli, of Belleville, C.W.,
pistol. Many
of
him several types, rather than one only,
Directory for the year 1851 contains
Canada,
L.C. — whose
in 185E
that his guns were so outstanding,
artisan who
Judge
of Montreal,
as part of the Canadian
Canadian
of collectors.
T. J. Boyd
Rifles. is the
and dealers in the larger metropolitan the items in which
seem, a very small number
they dealt.
But,
of these pistols have been
found.
In the main, the earlier single shot, muzzle-loading type of pistol seen in collections is of a military type, and these are often found to be converted
an
flintlocks. They are of course interesting from
historical viewpoint,
but
usually bear proof marks English or other non-Canadian origin.
indicating
Canadian
83
Gunsmiths
Although
these hand
guns
are great rarities, even
centres had their pistol makers.
This is confirmed
advertisement which lists “William working in Newbury, C.W. When
dealing with
hand
Clayson — Gun
guns,
one
the smaller
by the following & Pistol Maker”
well-known
category
of
military firearm is worthy of mention. This is the Colt’s percussion revolver, which has been found in some numbers, and was a standard arm
of the Canadian
Militia for some
readily identified by the stamped The
usual markings
or L.C. above
time.
markings
are a three line stamp
These
revolvers
on the wooden
are
butts.
consisting of either U.C.
a letter such as B. or F., and a third line of numerals
such as 29, 15, etc. The markings show that these Colt’s were used by various regiments of the Militia in Upper or Lower Canada. The Colt’s revolvers so stamped are usually found manufactured under the London patent.
Any
of the gunsmiths
account
First in importance
muzzle-loaders. For many was
market. powder
of an earlier era should
been
include
of the accessories so necessary to the loading and firing of the
mention
C.W.,
to have
one
This
would
be the powder.
years the Gore
Powder
Mills, located at Hamilton,
of the most
important
suppliers of the Canadian
firm provided
used both for hunting
many and
of the settlers with
the black
for the blasting so necessary in
clearing land.
Second
in importance
surprising how found
were
many
made
the powder
horn
of the flask type of container
by local tinsmiths.
flasks were manufactured ing collection may
was
These
or flask.
It is
that have been
early tole and copper
in almost every locality, and a very interest¬
be formed
of these alone.
Some
local tinsmith
84
The Canadian
or coppersmith
may,
with complete
Collector
assurance, be credited with this
type of collector’s item. Of much
greater importance
and interest are the powder
made
from the horn of an ox or steer.
have
been carved
knife blade.
or, more
When
Sometimes
often, burned
the design is burned
horns
these are found to
with a heated
needle or
into the horn it is termed
“scrimshaw.”
The amount
degree of importance
of this type of horn depends
of decoration, the name
and date if any, and the historical
significance pertaining to the horn. fine pair of powder
on the
Of this type are a particularly
horns in the collection of the Dominion
Archives
at Ottawa.
Next pouches,
in importance nipple wrenches,
cutters, game accessories.
powder
bags, powder
Last, but far from early hunters would knives, tomahawks
The
are the gun
flints, percussion
measures,
caps, shot
bullet moulds,
patch
funnels for filling the horns, and other
least, are those items without
have been helpless in the woods.
which
These
the
are the
and axes.
earliest hunting
knives
were
usually of very
But, as is to be seen in the advertisement
of T. W.
small
Boyd,
size.
in The
Pilot — a newspaper published in Montreal, C.E., during the period circa 1855 the larger Bowie knife was, during the mid-nineteenth century, a great favourite. Canes
&
Mr. Boyd
Bowie
Mr. Boyd’s advertisement
Knives — Upwards
was one of Canada’s
In the more
of a thousand
most important
rural districts, hunting
reads: “Sword
guns for sale.”
dealers in firearms.
knives
were
a homemade
Canadian
Gunsmiths
product. made
It has been established that many
this type of wrought
iron during their spare time.
A very interesting collection may axes.
85 of the local blacksmiths
be formed
of historic Canadian
The collection could start with the very early trade tomahawks
used during the French Ajackuaton
and
include the Ajackua
(large and small tomahawk
the rare pipe tomahawk, and chopping
in the Algonquin
and
the
vernacular),
and go on from these to the later hatchets
axes of the pioneer.
As Canadian well known, items.
Regime,
smallarms
and their accessories are, as yet, not too
the following*illustrations will assist collectors of such
Illustration No. 38 shows four typical Canada to lower, the rifles were
the products
rifles. From
of the following Canadian
gunsmiths: C. Nichol, Chatham, Ont. ; J. Ashheld, Toronto; nardson, Toronto; and L. McIntosh, Goderich, C.W. Illustration No. 39 shows
upper
the actual markings
which
G. Renare to be
found on these rifles. Illustration No. 40 shows {top) a pistol of the eighteenth century having the flintlock method
of ignition.
a similar type after being converted
The central pistol illustrates
to the percussion method.
lower is a pistol of the percussion type stamped barrel.
These
W. Clayson
are historic pistols of the early Canadian
The
on the
militia.
Illustration No. 41 consists of {top row ) two early knives and a rare pipe tomahawk; and three eighteenth-century tomahawks. The accessories shown in illustration No. 42 consist of powder
flasks, shot pouches, bullet moulds, nipple wrenches, were necessary
when
using muzzle-loading
Illustration No. 43 shows
etc., all of which
firearms.
the scrimshaw
type of decoration
used
No. 38.
Four typical “Canada”
c