Welland Canal Survey of Lands John Hainer 1826

Survey map and description of John Hanier's land created by The Welland Canal Company. Included is a written description of the land. The drawing for the land can be found in William Hamilton Merritt's record and their land bordered one another. Noteable features include; line between Gould's and Hanier's land, line between Hanier's and Merritt's land, road, Hayward Distillery, draw bridge. Surveyor notes are seen in pencil on the map. The survey was signed and submitted on August 23rd, 1826. The survey was updated August 26th, 1831. The land is 18 acres, 2 roads and 27 perches.

Welland Canal Survey of Lands John Clendennan 1827

Survey map and description of John Clendennan's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; line between lot no.17 in 6th and 7th concession, William Chisholm's land. Surveyor notes are seen in pencil on the map. The deed for the land was dated June 1st, 1827. Click on 'stereoview' to see Map.

Welland Canal Survey of Lands John Soper, 1826

Survey map and description of John Soper's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; line between lots, high water mark of canal, concession line. The land totals 1 acre. The survey was signed and submitted on August 23, 1826.

Welland Canal Survey of Lands John Brown, 1827

Survey map and description of John Brown's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; Welland river, towpath, canal, lock, side line between Broan and Carl. The land totals 6 acres, 3 roads and 33 perches. The deed for the land is dated April 2, 1827. Surveyor notes are seen in pencil on the map.

Welland Canal Survey of Lands John Watson, 1831

Survey map and description of John Watson's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. The land totals 2 acres, 1 road, and 21 perches. The land was surveyed on September 5th, 1831.

Welland Canal Survey of Lands John Heslop's Estate

Survey map and description of John Heslop's Estate's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; line between Heslop and Carrol's land. The land totals 11 acres, 2 roads and 36 perches. The survey contains the land on the West side of the resovoir as well as the land drowned by the resevoir. Surveyor notes are seen in pencil on the map.

Welland Canal Survey of Lands John Hellems, 1835

Survey map and description of John Hellem's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; W. Crooks land, concession lines, basin, bridges, guard lock, reservoir, tow path, Lyons Creek. The survey was done on three seperate ocassions by George and Samuel Keefer for Hellems lot #26 in Crowland township. Surveyor notes are seen in pencil and red pen on the map.

Two Black Gentlemen Photographed by John Cooper, London/St. Thomas, Ont. [n.d.]

An undated cabinet card of two Black men photographed by John Cooper, who operated as a photographer in London, Ont. and St. Thomas, Ont. from 1857 - 1890. The reverse of the photograph features the photographer's stamp in coloured ink. This photograph was in the possession of Iris Sloman Bell, of St. Catharines. The Sloman - Bell family have relatives who include former Black slaves from the United States. John Cooper is listed as a photographer and daguerrean artist in 1857 - 1890 in London, Ont. and in 1874 in St. Thomas, Ont. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Small Cabinet Card of African American Man by John S. Thom, of Lucan, Ontario [n.d.]

A very small cabinet card type photograph of an unidentified man, possibly a relative of the Bell - Sloman family. A handwritten entry on the reverse of the photograph indicates it was taken by John S. Thom, of Lucan. No date is provided, however, John S. Thom is known to have been a photographer in Lucan from 1877-1882. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines. Relatives of the Sloman - Bell family include former African American slaves who settled in Canada.John S. Thom is listed as a photographer in Lucan, Ontario from 1877-1882. Aside from photography, he also operated a general store and sold notions. It appears he then moved to Sarnia, Ont. and is listed as a photographer there from 1882-1900. He is also recorded as being a Sarnia bicycle dealer. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Cabinet Card by John B. Cook, Photographer, Toronto [n.d.]

Two young African Canadian girls are the subject of this undated cabinet card photograph by John B. Cook, of Toronto. The address listed on the company stamp, which appears in gold lettering at the bottom of the card, is 191 and 193 Yonge [St.] Toronto. The original photo was over-exposed and faded, so image adjustments have been made for clarification purposes. This photograph was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. It is possible these two girls are relatives of the Sloman and Bell families. Relatives of the Sloman - Bell families include former American slaves who settled in Canada.John B. Cook is listed as being a photographer -- and a hotelier -- in Toronto from 1879-1898. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Miniature Portrait of Captain John Brock

A miniature portrait of Captain John Brock, 81st Regiment of Foot. There is an inscription on parchment attached to the reverse which reads "Major Gen. Sir Isaac Brock Lieut. Govenor of Upper Canada Fell at Queenston Heights on 13th Oct 1812" "The Hero of Canada". Above this inscription is a picture of an Indian on a battlement, holding what appears to be a tomahawk. Directly below this picture is a banner with the word "Canada" on it. The entire inscription is surrounded by a braided lock of hair which is enclosed in the case. This inscription contains a number of historical inaccuracies. The portrait also shows the buttons of the 81st Regiment. Sir Isaac Brock belonged to the 49th Regiment of Foot. It has thus been determined that the portrait is not of Isaac Brock but of his brother John.

Remarks and criticism on the Hon. John Quincy Adams's letter to the Hon. Harrison Gray Otis

Printed by Joshua Cushing

Niagara Falls Suspension Bridge Company fonds, 1875-1876, 1878, 1884

In 1846, the governments of Upper Canada and the State of New York initiated the creation of two companies that would be authorized to build a bridge over the Niagara River. The bridge was to be owned by both companies, respectively known as the Niagara Falls Suspension Bridge Company (Canadian) and the International Bridge Company (American). A suspension bridge was completed in 1848. This bridge was later replaced by a second suspension bridge that accommodated railways, built in 1853-54. However, the increasing weight of trains made it necessary for the bridge to be redesigned, and a third bridge was completed in 1886. Eventually, this bridge was replaced by a steel arch bridge, which was completed in 1897.

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

John Adams Smith letter, Jan. 14, 1813

Transcript: New York Jan. 14. 1813. My dear uncle, I had nearly concluded to have made my [jaunt?] earlier than I had mentioned in my last letter to you, for Swartout had intended to have written by me to Father & yourself; having [Louisa?] concluded not so soon to depart he sends me his letters which I forward in mail, I shall hope to have letters from home soon, it is a great pleasure to hear from any of you. I said last week in Hollands letter mentioning [bladeworth?] account, I have explained to him. It is a mistake about me agreeing to pay Mr. [Dening?] [their?] account. Caroline mentions to me your jaunt to [Sophia?], but I regret our friend there should be unpleasantly situated. I have not yet seen Col. Willett but will see him as mentioned. I have neglected to go there for some time which has been remiss in me. We have nothing new I believe unless it be that Armstrong & Jones of Philadelphia have been nominated as Secretarys of War & the Navy & [cer?] this in all probability may be appointed. There may be room for speculation, but perhaps it is not probable that Canada will be ceded to American Valor in the year 1813. There is a Bill before congress by which it may be made penal to enter on board American vessels, either British subjects or naturalized Americans, which it is presoomed by many will [spon?] the accommodation of Peace – may be yes may be no – the proof of the pudding is in the eating of it. I imagine pacification is not so near at hand although it is much to be desired. Whatever might be for the honor & prosperity of the Country I would strenuously advocate, aloof from partial & party considerations. We have not a word as yet what the Council at Albany may be thinking of as yet. I suppose these things will come in time, perhaps untimely to many. I desire for the present not to be found among the untimely. I am your sincerely, with love to all. John Adams Smith