Thomas Moore Music Project:The Genesis of Thomas Moore's Irish Melodies

This is a selection of images from the Gibson-Massie Moore Collection, supplement by a table created by curator Sarah McCleave. The purpose is to identify the numerous creators involved in the Irish Melodies series (music editor, illustrators, engravers, etc.), and to illustrate some characteristics kinds of variants

John T. Moore, Pianist, April 10, 1949

Concert Program for John T. Moore, Pianist, April 10, 1994

Indenture Lease by Timothy Street to Stroughton Moore

Indenture by which Timothy Street of Niagara Township allowed Stroughton Moore of Lewiston, New York to lease a brick house in the Village of St. Davids for $160.00 payable annually. Mr. Moore would also have use of half the barn. Ezekiel Woodruff was a witness to the signing of this lease, January 29, 1822.

Indenture of Sawmill Water Leased to Stroughton Moore by David Secord

Indenture stating that David Secord of St. Davids, leased the sawmill water in St. Davids to Stroughton Moore of St. Davids for 50 pounds a year. This document was witnessed by Ezekiel and William Woodruff, July 22, 1824.

Indenture between Timothy Street and Abigail Street to Stroughton Moore

Indenture of bargain and sale between Timothy Street and Abigail Street of Toronto to Stroughton Moore of St. Davids for one part of Lot no. 1 in the town of St. Davids and part of Lot no. 90 in the Township of Niagara - instrument no. 8709, June 1, 1832.

Indenture between Stroughton Moore and George Jackson

Indenture of bargain and sale between Stroughton Moore of St. Davids and George Jackson of St. Davids for part of Lot no. 90 in the Township of Niagara - instrument no. 10.818, July 27, 1835.

Indenture between Maria Moore and Richard Woodruff

Indenture of bargain and sale between Maria Moore of St. Davids and Richard Woodruff of St. Davids, executor of the Last Will and Testament of Stroughton Moore, deceased regarding land in the town of Hamilton - instrument no. 298, July 8, 1843.

Receipt from Mrs. Moore to Mr. Woodruff

Receipt from Mrs. Moore to Mr. Woodruff for items including: trimmings for vest, 1 pair of gloves and yards of brown Holland. This paper has been torn at the left side and at the bottom. This does not affect the text, Sept. 5, 1843.

Letter to H.H. Collier of Austin, Texas to the care of Cruger and Moore of Houston, Texas and New Orleans

Letter to H.H. Collier of Austin, Texas to the care of Cruger and Moore of Houston, Texas and New Orleans. The letter is from his sister, E. Richards. She writes about family life, her job as a teacher and politics (3 ¼ pages, handwritten), Jan. 23, 1841.

Aimer, s’aimer à s’y perdre ? Les jeux spéculaires de Cahun-Moore

Que penser d’une jeune artiste qui se présente tantôt en Méduse ou en beauté orientale, tantôt en bouddha, en haltérophile ou en Gretchen? Que penser de cet autoportrait dédoublé « en damier » qui fait écho au portrait d’une femme « en rayures », celui-ci également dédoublé? Comment décoder des photomontages — tous plus énigmatiques les uns que les autres — conçus en collaboration avec cette même femme « en rayures », et qui se retrouvent intercalés dans un texte intitulé « Aveux non avenus »? Que signifie « aimer », lorsque l’être aimé est notre alter ego? Cette histoire d’amour entre soi et la projection de soi peut-elle éviter l’abîme? Cet article propose de réfléchir sur la notion d’« aimer » chez Claude Cahun et Suzanne Malherbe alias Marcel Moore, en interrogeant le côté « narcissique » et autoréflexif que révèlent la plupart des autoportraits, l’autobiographie et les photomontages, d’une part, et le désir lesbien stigmatisé à l’époque comme un « faux masque », d’autre part. Dans un deuxième temps, il s’intéressera à ce couple symbiotique que forment l’auteure-photographe Cahun et la graphiste-peintre Moore, symbiose artistique qui leur permet de créer des oeuvres à leur image.