Cabinet Card of Young African Canadian by The Dominion Photo Studio, Toronto [n.d.]

This unidentified African Canadian man is photographed at the Dominion Photo Studio, located at 388 Queen St. West in Toronto. The photographer's name is not known. No date is provided, however, the Dominion Studio is listed as operating from 1893-1894. The reverse of the card displays the Dominion Photo Studio stamp in gold lettering (image also attached). The gentleman in this cabinet card is possibly a relative of the Sloman - Bell family, who settled in the London and St. Catharines areas of Ontario. This cabinet card was among the family memorabilia in the possession of Iris Sloman Bell, of St. Catharines. Relatives of the Sloman - Bell family include former African American slaves who came to Canada.The Dominion Portait Co. is listed as operating from 1893-1894 in Toronto. There is an additional listing for the Dominion Portrait Co. (Gourlay and Clark props.) for 1894. 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/

Clippings - Road Allowances, Lock 2 Bridge, Toronto Railway Company, St. Davids' History

Clipping regarding the original road allowance which was part of Mr. Woodruff’s property, n.d. Clipping regarding the Lock 2 Bridge. This is a letter to the editor of the Journal from Calvin Phelps of Lockport, Nov. 13, 1889. Clipping entitled “Settled beyond a Dispute”: a letter to the Editor of the Star from J. G. Currie regarding the road allowance in the 5th Concession of Grantham, Nov. 16, 1889. Clipping entitled “That Old Road Allowance” which is a rebuttal to Mr. Currie’s letter, [1889] 2 newspaper clippings regarding: “Reg. vs. Toronto Railway Company”. These 2 articles are glued to a piece of paper. Beneath the newspaper articles is the name M. Chambers, Nov. 18, 1898. Notes regarding the clippings are enclosed with the articles. These notes and written on the back of “Pattison, Collier and Shaw Barristers, Solicitors, Etc.” stationary (notes are 2 pages, handwritten), Nov. 18, 1898. Clipping entitled “History on the Site: St. Davids’ Students Learn Lessons where Events Occurred” (2 copies), n.d.

Landmarks of Canada : What art has done for Canadian history; a guide to the J. Ross Robertson historical collection in the Public reference library, Toronto, Canada. This catalogue of the collection covers three thousand seven hundred illustrations and includes originals and reproductions in every form of art of all known pictures in connection with Canadian history from the landing of Wolfe at Louisburg in 1758 to the present time /

Includes brief biographical sketches of the subjects of the portraits in the collection.

Proceedings of the Canadian Institute, Toronto, being a continuation of "The Canadian journal of science, literature and history."

Vol. 3, fasc. 2, has special t.-p.: Universal or cosmic time, by Sandford Fleming ... 1885.

History of Toronto and county of York, Ontario; containing an outline of the history of the Dominion of Canada; a history of the city of Toronto and the county of York, with the townships, towns, general and local statistics; biographical sketches.

v. 1, pt. 1. A brief history of Canada. pt. 2. The county of York.--v. 2. Biographical notices.

Transdermal estrogen therapy effects on fibrinogen levels in women with a past history of venous thromboembolism: a pilot study

Objective: To evaluate thromboelastographic parameters and fibrinogen levels in women treated with transdermal 17 beta estradiol. Methods: 29 menopausal women with a history of venous thromboembolic disease were included. Nine patients composed the treatment (HT) group and 20 the control group. Coagulation was assessed by thromboelastography in samples of whole blood and platelet-poor plasma (PPP). The following thromboelastographic variables were measured: time for initial coagulation (R), blood clotting speed (K and the a angle), clot tensile strength (MA and G), global index of coagulation (Cl) and fibrinolysis (LY30) and fibrinogen levels. Results: There were no differences in the other parameters comparing both groups. Fibrinogen levels showed a 13.77 +/- 19.94% reduction in the HT group and a 5.51 +/- 8.09% increase in the control group after 6 months. Conclusions: Our data suggested that transdermal estrogen may not increase blood coagulability, but that it reduces fibrinogen levels in FIT women.

Cabinet Card of Young Woman Photographed by N. C. Shorey, of Toronto [n.d.]

An unidentified African Canadian young woman is the subject of this cabinet card portrait photograph by N. C. Shorey, of Toronto, Ontario. The photo is undated but believed to be taken in the late 1890s. The photographer's stamp, with his name and address, appears in the gold lettering at the bottom of the card. The young woman in the photograph could possibly be a relative of the Sloman - Bell family, who resided in the London and St. Catharines areas. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family relatives are descended from former Black slaves from the United States.N. C. Shorey is listed as a photographer in Toronto, Ont. from 1892 - 1900. 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/

Cabinet Card Portrait Photographed by I. H. Lewis, of Toronto [n.d.]

A cabinet card portrait of an unidentified woman by I. H. Lewis, a photographer

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.

L’identité en projets : ville, architecture et patrimoine. Analyse de concours à Québec et à Toronto

Dans un contexte de globalisation et de profusion des discours identitaires, la thèse examine le concept d’identité, ses définitions et ses usages dans les débats et les pratiques de la ville, de l’architecture et du patrimoine. Les interventions sur un bâtiment historique révèlent autant le rapport identitaire de la société avec son histoire que celui avec le monde contemporain. La recherche traite de concours d’architecture dans deux villes canadiennes qui aspirent à se positionner à l’échelle internationale, l’une focalisant sur l’aspect contemporain global et l’autre sur l’aspect historique et local. L’objectif de la recherche est d’une part de contribuer au dévoilement du processus de construction identitaire des villes contemporaines à travers les projets d’architecture. D’autre part, il s’agit d’analyser le processus d’identification et l’identité architecturale dans son rapport à l’histoire et à la contemporanéité dans la pratique au sein de bâtiments historiques. La ville devient un objet de communication, qui use de marketing urbain, pour augmenter sa visibilité. L’architecture devient un moyen de communication utilisé pour transmettre une identité visuelle. La méthodologie combine l’analyse des discours, ainsi que l’analyse de l’architecture et de sa représentation. Le choix du concours du Centre d'accueil et d'interprétation de la Place-Royale à Québec (1996) et de l’agrandissement du Musée royal d’Ontario (2001) à Toronto permet d’appréhender les différentes facettes du concept d’identité et de révéler les enjeux locaux et internationaux. Le fait qu’il s’agisse de concours donne accès à un corpus de discours qui comprend les programmes, les politiques de la ville, les présentations des architectes et la réception. L’histoire de chaque concours ainsi que l’analyse sémantique des discours de la commande éclairent le rapport entre les processus et les intentions et permettent de mettre en lumière les enjeux locaux. L’analyse des discours textuels et visuels des architectes dévoile le processus d’identification des projets, les différents types de référents impliqués ainsi que les stratégies de communication employées. L’analyse des projets rend compte des caractéristiques de l’identité de l’architecture contemporaine et son rapport avec le patrimoine. La recherche dévoile l’importance des discours et de la communication dans la construction identitaire des villes en amont des concours ainsi que le débat sociétal que la question pose. Durant le processus d’identification architecturale, le biais induit par la commande amène une emphase et une surenchère des discours historiques par les architectes dans le cas de Québec. Les projets proposés misent sur une mise en scène de la ville historique et du patrimoine et focalisent sur l’expérience visuelle des visiteurs. Dans le cas de Toronto, l’intérêt pour l’aspect global et spectaculaire dans la construction identitaire de la ville en amont du concours, génère un engouement pour une représentation attractive des projets et pour une architecture iconique.

Mrs. Kadiato Kamara: an expert dyer in Sierra Leone / Loretta Reinhardt, Assistant Professor, Erindale College, University of Toronto --

v.66:no.2(1976)

Clarissa : or, The history of a young lady /

"List of Samuel Richardson's works": vol. I, p. xii.

A summary of Canadian history : from the time of Cartier's discovery to the present day with questions adapted to each paragraph for the use of schools /

"Tenth thousand."

Manitoba : history of its early settlement, development, and resources /

Mode of access: Internet.