Massachusetts Mercury, 10 June 1800 (vol. 15, no. 46) - Newspaper

Volume 15 no. 46 of the Massachusetts Mercury dated 10 June, 1800.

Thomas's Massachusetts spy, or, Worcester Gazette, 1 March 1815 (vol. 44, no. 2186) - Newspaper

Volumes of interest were published between 1812 and 1815 with articles about the War of 1812. Issue for Mar. 1, 1815: The front page of this issue has the: "TREATY Of Peace And Amity, Between his Britannick Majesty and the United States of America." Hereafter, and concluding on pg. 2, are the eleven articles of the treaty, signed in type: John Q. Adams, James A. Bayard, Henry Clay, Albert Gallatin, and several others. Page 2 also has the message from the President that he forwarded a copy of the treaty to Congress, signed in type: James Madison.

Boston Gazette, 12 July 1813 (vol. 39, no. 6) - Newspaper

Volumes of interest were published between 1812 and 1815 with articles about the War of 1812. Issue for July 12, 1813 includes news from the War of 1812 at Sackets Harbour, Albany, and Fort George (relating to the Battle of Beaver Dams)

Boston Gazette, 13 December 1813 (vol. 39, no. 50) - Newspaper

Volumes of interest were published between 1812 and 1815 with articles about the War of 1812. Issue for Dec. 13, 1813: much of the front page & a portion of page 2 are taken up with the "President's Message" which is signed by him in type at its conclusion: James Madison. Obviously much of the focus of his speech is with the on-going War of 1812 including mention of some significant battles such as Lake Erie, etc.

Watercolour painting, Trees

A watercolour painting of trees, 15cm x 10com, signed by Margaret Woodruff.

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point (2 ½ pages, handwritten), June 11, 1875.

Letter to S.D. Woodruff from G. H. Richards of Boston regarding Louis Cabot

Letter to S.D. Woodruff from G. H. Richards of Boston regarding Louis Cabot who sent a letter regarding Mr. Woodruff’s shares in Long Point and asked Mr. Richards to send $1000 on account of them, Mar. 26, 1883.

Letter to S.D. Woodruff from Louis Cabot of Brookline, Massachusetts

Letter to S.D. Woodruff from Louis Cabot of Brookline, Massachusetts asking if shares are transferable by lease, Jan. 3, 1884.

Receipt from George Begy for painting

Receipt from George Begy for painting.

Watercolour painting of the Woodruff coat of arms on paper

Watercolour painting of the Woodruff coat of arms on paper. This measures 43 cm. x 31 cm., n.d.

La premiere grammaire latine theorie et exercices themes et versións-exercices de memoire, lexiques latin-francais et francais-latin

UANL

Cours d'exercices et de themes latins : disposés dans l'ordre de la grammaire latine simplifiee

UANL

Quand les Afro-Américains devinrent Démocrates : étude de la transformation du militantisme noir de Boston, 1918-1925

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

La Junte des Philippines de Goya (1815) : regard sur le pouvoir colonial espagnol et le capitalisme financier

Notre analyse de l’imposante toile de Francisco Goya L’Assemblée de la Compagnie Royale des Philippines dite La Junte des Philippines (1815) vise à sortir cette œuvre de l’isolement où les études antérieures l’ont en grande partie maintenue. Nous désirons réinsérer ce tableau au cœur des dynamiques artistiques et économiques mondiales à l’orée du XIXe siècle. Le regard lucide que nous portons sur le tableau de Goya s’appuie sur une approche historique issue de la pensée postcoloniale actuelle. Par un renversement de perspective depuis la salle de réunion vers l’empire espagnol, nous plaçons l’œuvre dans une trame de relations mondiales entre la métropole et ses colonies. La Junte des Philippines révèle alors un point de vue particulier sur l’impérialisme espagnol en déclin. Loin d’être close sur elle-même, l’œuvre articule une série de thématiques qui répondent aux exigences artistiques de l’époque, notamment de la bourgeoisie libérale. Le traitement qu’opère La Junte de la commémoration d’une rencontre d’actionnaires met au jour une conception visuelle du capitalisme mercantile et financier présent en Espagne et en Angleterre. L’intrigue artistique que déploie Goya possède une signification d’envergure historique qui contribue à la valeur d’actualité de La Junte des Philippines.