Gifts Fit for a Queen

Province’s Royal Gift Completed After Long And Exacting Work

(News clipping found in an order book, Loomcrofters Studio Collection, 23 October 1951)

Two Handwoven Motor Rugs To Be Presented By Premier

By Marianne Grey Otty

RCAF Tartan detail from the replica motor rug, 1951-1952

Gagetown, Oct. 23 – (Special)- The glancing shuttle of history wove a golden thread into the traditions of this old Loyalist-founded village of Gagetown today. This was the day on which The Loomcrofters put their last stitch into a pair of motor rugs, handwoven for England’s future Queen, Princess Elizabeth and her Consort, the Duke of Edinburgh which will be presented by Premier J.B. McNair at Fredericton Nov. 6.

Only those who have done intricate weaving can realize the difficulties of the happy task accomplished by Miss Patricia Jenkins and Miss Muriel G. Laurence in producing the two perfectly matched replicas of the coat of arms of New Brunswick which adorn the plain azure lining of the two rugs.

The tops, of Royal Canadian Air Force tartan, originated by the Loomcrofters themselves have been done by Miss Enid Inch. To her the weaving of this beautiful combination of azure, cardinal, cream (crossed out and corrected to white) and dark blue, is an old story, for she has woven over 3000 yards of this particular tartan without an error.

Commission By Premier

It was the first week in September that The Loomcrofters were commissioned by Premier McNair to make the two handwoven rugs as New Brunswick’s gift to the Royal visitors. The suggestion as to what form New Brunswick’s gift would take is credited by the premier to Hon. D.L. MacLaren, lieutenant governor of the province.

The Loomcrofters began this thrilling piece of work on Sept. 5, and now it is finished and awaiting its honored destiny as a gift “fit for a Princess.”

First to be done were the azure blue linings of finest wool. To weave the provincial coat of arms into this background was an undertaking which called for the highest degree of skill, to have copied the crest in needlepoint on a plain woven background would have been difficult enough.

Coat of Arms Used

Design process with sample of RCAF tartan and coat of arms

To ensure absolute accuracy, the provincial coat of arms, which is kept in the vaults of the Legislative Buildings in Fredericton, was placed in the hands of the Loomcrofters for their use. An enlarged photograph was made of this, with the Royal crown placed above the coat of arms. The photograph was then traced on thin paper, to give an outline of the whole in the required size, 20 inches in depth from the top of the crown to the lower tip of the shield.

From the tracing, (handwritten note: Miss L. did this.) an enlarged chart was made on squared paper, somewhat resembling the patterns used for doing needlepoint. Using this chart, the number of stitches of each color required to produce in hand weaving a correct reproduction of New Brunswick’s Coat of Arms was worked out. A trial copy this was then woven in a width of azure blue wool; and after a few changes had been made, the actual work on the Royal rugs began.

After weaving the azure lining up to within 12 1-2 inches of the centre, the weave was changed to a double twill, and the difficult task of incorporating the coat of arms into the cloth was started. This part was made extraordinarily difficult because the pattern had to be put in from the back of the web. What the finished work was going to be like could only be ascertained by dividing the threads of the warp and holding a hand mirror underneath. However, when the web was removed from the loom not an error was found.

Replica motor rug, 1951-1952

To add further to the difficulty of the work, the lengthwise of the coat of arms was placed across the centre of the rugs so that the crown would be upright when the rugs were laid across the Royal knees.

This caused many more changes of color in placing the threads in the design than if the coat of arms had been upright on the lengthwise of the robes.

All Threads Counted

Every thread woven into each coat of arms had to be counted one by one. While Miss Jenkins wove the coat of arms into the cloth, it was Miss Laurence’s part to sit beside her and call out the colors and the number of threads— “red, two threads; ruby, one thread; blue, 13 threads.” Hour after hour this went on. Proceeding at such a careful pace, only about one inch could be done across the rug in a day. The two estimate that it took 66 weaving hours to produce one crest. Their “day” in recent weeks has lasted from 8 a.m. to 10:30 p.m.

In the midst of this work, so weighted with importance and responsibility, the usual activities of the Loomcroft went on, – visitors were met, orders completed and parcels sent out; but hurried though their tension-filled hours were The Loomcrofters sent out word to the school children to come and weave a few threads each in the “Princess’s rug.”

The children came by the half-dozen, both boys and girls, eager to take advantage of the opportunity. “I made one of the lion’s whiskers!” exclaimed one little girl delightedly. This experience will be something for them to remember—a link between them and Canada’s Queen-to-be, for the rest of their lives. Former English women were among the fortunate older people who wove a bit of ermine, or put a jewel in the Royal crown, while The Loomcrofters guided each thread.

There are 14 shades in the coats of arms—three of green, for the sea; pearl gray for these jewels around the curves of the crown; two shades of grey for the ships and her sails; white for the ermine; black for emphasis in border, fur and dividing lines; red, ruby and emerald green for the Crown jewels; and three shades of gold in the British lion and the background. A rich effect has been produced.

The completed rugs, seven feet long and 40 inches wide, are finished with a deep, thick fringe, made by knotting the fringe from the tartan with that of the azure lining.

The presentation to Princess Elizabeth, November 1951, with Miss Jenkins and Miss Inch

It was early in October, 1944, that Princess Alice and the Earl of Athlone, then governor-general of Canada, visited the Loomcrofters, and expressed delight in the quality and beauty of the handicrafts they saw there. Among the things they ordered was a tartan for Princess Margaret Rose. It was from a suggestion made by Princess Alice that the idea of the new and distinctive R.C.A.F tartan (handwritten note: in car rugs) was evolved. This tartan, registered in Edinburgh, became the official tartan of the R.C.A.F and was first used by Pipe Band No. 9, at Centralia, Ont.

When H.R.H. Princess Elizabeth and her consort, the Duke of Edinburgh return to England with the Loomcrofter rugs from New Brunswick, we can be sure that Princess Alice will greet the work with the appreciation and understanding of an old friend.

For more information about the rugs or the Loomcrofters Studio Project, contact info@queenscountyheritage.com

Art Under the Influence – Cheryl Bogart

In these days of Wiis, iPods and other high-tech gadgets of the 21^st century it may have been impossible to find that perfect gift for someone on your Christmas list.  Maybe a look back in time can provide some inspiration for next year or at least provide a distraction while your credit card bills start rolling in.

doll, c 1900
porcelain with ribbon and yarn
Gift of Elizabeth Worden, 1975 (1975.51.67)

In the collection of Queens County Heritage are a number of items that at one time or another were Christmas gifts.  How do we know?  Oral histories and family traditions accompany some objects when they are acquired, but often we are even luckier with an inscription or note attached.  Toys and children’s items are rare simply because they were given to be used and handed down from one child to the next, making longevity and preservation difficult.  Items associated with a particular date or person, are even more valuable.  The earliest items that could be classified as toys that we know to be Christmas gifts are a wagon, a book and two dolls.  A porcelain headed doll with a crocheted body was given to Edith by Mary C about 1900. The doll’s head is of German origin and originally would have had arms and legs; however sometime in the early 20^th century, the crocheted body was created.  This body is a replacement.  The identity of Edith and Mary C is lost at the moment and shaking the donor’s family tree so far has not dislodged them, but the original gift tag accompanied the doll when it was donated in 1975.   Visitors to the Art Under the Influence exhibition will recall this doll as the inspiration for Cheryl Bogart’s painting, Tied Up.

Cheryl Bogart (born 1947)
painting: Tied Up, 2004
watercolour on paper
Purchased in honour of 25 years faithful service by Cheryl Bogart as Secretary, Board of Directors, Queens County Heritage, 1986-2011 (2011.15) © 2019 All Rights Reserved Queens County Heritage

In fact, the exhibition was developed and inspired by Cheryl Bogart’s 2004 painting of this doll.  It seemed to us the most vivid example of artists drawing their inspiration from a variety of sources – the landscape, the people around them, another artist, or an interesting object. QCH purchased this painting for the collection in 2011, in honour of Cheryl Bogart’s 25 years of faithful service as Secretary to the Board of Directors (1986-2011).

Trinity Gallery, Saint John, has described Cheryl as follows:

Cheryl Bogart was born in New Brunswick and continues to live here today. She is a self-taught artist, whose work has matured to a high level of technical excellence. Through the interplay of highly decorative detail and spare irony, a powerful message emerges from each painting which cannot be ignored. Bogart’s paintings have appeared in numerous exhibitions and competitions. Her paintings are in the permanent collections of the Canada Council Art Bank, the University of Moncton and several private and corporate collections in Canada, the United States, Europe and Australia.

ARTIST STATEMENT

“My Paintings are about the passage of time, the laughter, the beauty and sometimes, the despair of our lives. A writer has said that ‘Our lives go by like sparks flying’. I strive to catch bits of these brief and brilliant sparks and to paint them as they shower and disappear around me.” – C. Bogart

The vitality of the historical Queens County art community is clear and continues to this day.  From AG Hoit, Thomas MacDonald, Anthony Flower, Abraham Wood, Susan MacDonald, Caroline Slipp Gilbert, John Millidge, Annie Hewlett Deveber, Frank MacDonald, Morris Scovil, William West, Mary Pratt, Rhoda Chapman to Cheryl Bogart and dozens of other currently working and living in our region. As part of the exhibition, contemporary artist and artisans created their own masterpieces inspired by the historical work from the collection.  The overwhelming response showcased the strength of our arts community in the 21^st century and continues the legacy of artistic excellence.

For more information about Art Under the Influence or any of the artists featured in this series, contact us at info@queenscountyheritage.com

Art Under the Influence – Rhoda Chapman

Rhoda Chapman drawing: The Country Store, 1980 pen and ink on paper Gift of Dr. James K. Chapman, 1997 (1997.70) © 2019 All Rights Reserved Queens County Heritage

This drawing is one of a series prepared by Rhoda Chapman for her husband, Dr. James Chapman, for his book, River Boy.  The scene is of the Weston Store, the large stone store/building on Front Street, one of several in the village, and a gathering place for local gentlemen to chat, discuss politics, the price of lumber or potatoes, and so on.  For a young boy growing up in the 1920s and 1930s, it was the source of all knowledge!  Previously owned by the McKeague family, the stone building replaced a wooden structure that burned about 1917.

Mrs. Chapman’s drawings capture the heart of Dr. Chapman’s stories and provide us with a visual representation of his memories.  In an interesting coincidence, this work inspired one of the contemporary artists to create a work for Art Under the Influence.  Without any detailed background history of the work, Kim Stubbs felt drawn to the work: “I immediately feel comfort and a sense of belonging from this work. It portrays the close-knit community I feel today sitting with friends in the village of Gagetown.”  Stubbs in turn created a painting depicting the Old Boot Pub on Front Street, with various local characters sitting around discussing the events of contemporary Gagetown.  It was only when the painting appeared during the final installation that it was noted that the pub is the very same building as the Weston Store of Mrs. Chapman’s drawing!  How’s that for inspiration across multiple generations?!?

Art Under the Influence: Mary Pratt

Mary Pratt (born 1935) drawing: Hon. William John West, Q.C. of Coles Island, 1969 graphite on paper Gift of the Honourable William John West, 1975 (1975.34.1a) © 2019 All Rights Reserved Queens County Heritage

In 1969, the Honourable William West’s daughter, well-known Canadian artist Mary Pratt gave two drawings to our collection.  One of her father, shown here, and one of her father’s judicial colleague and fellow Queens County boy, the Honourable Arthur Reid Slipp.  Mary Frances Pratt, was born 15 March 1935 in Fredericton, New Brunswick and specializes in still life realist paintings.  She attended Mount Allison University, studying Fine Arts under such famous painters as Alex Colville and Lawren P. Harris.  While at Mount Allison, Mary met her husband, prominent Newfoundland artist, Christopher Pratt and following their marriage, she moved to Newfoundland.

For over 50 years Mary Pratt has moved audiences throughout Canada with her paintings.  Exhibitions, awards, publications and even a stamp in 2007 are among the successes of her career.  Her paintings have been exhibited in major galleries throughout Canada, reproduced in magazines such as Saturday Night, Chatelaine, and Canadian Art, and featured on billboards, in cookbooks, and on the covers of books and magazines. Her paintings are featured in many prominent public, corporate, and private collections, including those of the National Gallery of Canada, The Rooms, the New Brunswick Museum, Beaverbrook Art Gallery, Vancouver Art Gallery, Art Gallery of Ontario, and Canada House in England.  Queens County Heritage is fortunate to possess the two 1969 drawings of her father, Judge West, and his friend, Judge Slipp.

To see the works in person, contact us at info@queenscountyheritage.com.

Art Under the Influence – William West

Honourable William John West (1892-1985) painting: West Bros. Sawmill, Coles Island, Queens Co. 1897-1927, 1951 oil on panel Gift of the Honourable and Mrs. William John West, 1972 (1972.473) © 2019 All Rights Reserved Queens County Heritage

The Honourable William John West (1892-1985) is better known as a provincial Minister of Justice and provincial court judge, but he is also an author and artist.  His West Brothers Sawmill at Coles Island quickly became one of the highlights of Art Under the Influence.  Some were surprised that such a professionally accomplished gentleman had an artistic side while others were intrigued by the painting itself, but perhaps most importantly, the work stimulated so many memories of those who remembered the mill or had heard about it.

William John West was the son of Wesley West and Amelia Small and was born on the West farm at Coles Island.  In his youth, West worked on the farm, in the family sawmill, and even clerked at the local country store.  During World War I he served with the Canadian Army reaching the rank of Lieutenant.  Following the war, West returned to university, graduating from Mount Allison University and Harvard Law before settling into a law career in Fredericton.  He married Katherine McMurray, a stenographer from Fredericton, 22 November 1933.  Katherine was a gifted musician and artist and they had two daughters, Mary and Barbara. In the 1950s William West entered the political realm, rising to the office of New Brunswick Attorney General from 1952-1958.  From there he was appointed a judge of the province and had a distinguished career in New Brunswick courts from behind the bench.

In retirement, the Hon. West wrote, The Wests of Coles Island, a family and community history along with his own autobiography in 1982.  William West died in 1985 but his artistic legacy, along with that of his wife, carried into the next generation with his daughter, Mary West becoming one of the leading Canadian artists of the late 20th century.  Mary will feature in our next article and is more familiar to audiences as Mary Pratt.

Art Under the Influence – Morris Allaire Scovil

The tradition of finding inspiration in our people and places continued into the 20^th century with river scenes by Morris Allaire Scovil (1889-1968).  Born in Gagetown on 4 July 1889, Morris Allaire Scovil was the son of Morris Scovil and Harriet DuVernet.  He grew up at “Meadowlands” in Lower Jemseg – the farm at the ferry landing on the Jemseg side.  Upon his mother’s death in 1903, his father’s sister, noted nurse, editor and author Elizabeth Robinson Scovil returned to the farm to look after Morris and his siblings.  He attended school in Gagetown and went on to study at the Nova Scotia Agricultural College in Truro, Nova Scotia.  On 30 March 1915 he enlisted with the 6th Canadian Mounted Rifles and was in the second battle at Ypres.  His attestation papers describe him as 5 ft 8 inches tall with light brown hair and blue eyes and noted previous military service as five years with the 28^th New Brunswick Dragoons.  He was captured and spent time in Germany and Holland as a prisoner of war.  He returned to Canada and on 17 March 1920 married Mary Madeleine Bliss, daughter of Gerald Courtenaye Wentworth Bliss and Frances R. Crane, in Amherst, Nova Scotia.

Morris Allaire Scovil (1889-1968)
painting: Victoria Arriving at a Wharf, c. 1964
oil on panel
Gift of Mrs. R.K. Nevers, 1974 (1974.497.1) © 2019 All Rights Reserved Queens County Heritage

The Scovils lived in Manitoba and England where he ran a commercial sales and service business, eventually returning to Amherst where he worked as director of the Maritime Stockbreeders Association.  Morris Scovil took up oil painting in his retirement and studied with Fred Nicholson, Alfred Whitehead and Willard Morse Mitchell.  He died in 1968 in Amherst, Nova Scotia.  His work depicts landscape scenes in and around the Maritimes and was popular with tourists traveling through the Maritimes. In 1955 the Nova Scotia Government purchased one of his paintings for its permanent collection and in 1957 an Amherst Daily News article noted proudly that Scovil was “Proclaimed One Of Nova Scotia’s Most Prolific Landscape artists”.  This view of the steamer Victoria approaching a wharf is similar to another work in the collection of the NBM and reflects his memories of life along the St. John River.  The Victoria was the largest steamer ever on the river and operated between 1897 and 1916, measuring 200 feet long and capable of carrying up to 1000 passengers.   Imagine sitting at Meadowlands and watching such a majestic vessel steam by your front door!

This work was featured in Art Under the Influence.  For more information or if you have any additional information, please contact us at info@queenscountyheritage.com.  We would really like to have a photograph of Mr. Scovil!

Queens County Heritage 2012 Honours and Awards

Bruce Thomson presents the President’s Award to Shawna Quinn

Queens County Heritage is very pleased to announce the recipients of the 2012 Honours and Awards which were given out at a Christmas Reception on Friday, 23 November in advance of Christmas in the Village.  The reception is a member and friends event to preview the Tilley House decorations, share some good cheer and thank the many people who support Queens County Heritage.  The awards are presented to individuals, groups or organizations that have made a significant contribution to the preservation, collection and interpretation of Queens County heritage and culture.  In his welcome and opening remarks, President Bruce Thomson noted that so many people help to make Queens County Heritage work on a daily basis and these awards are recognition of the army of people who make such outstanding contributions.  On hand to present the awards in addition to Thomson were Vice-Presidents Jill Merritt-Coy, Mary Anne Chrisjohn, Lynn Mills, Gerald Breau, and Executive Director Susan Shalala.

The award for Public Programming was given to Linda Nicholson-Dempsey and the Eco-Kids Program of the Cambridge-Narrows School.  In the spring of 2011 and 2012, this group of students planted a heritage vegetable garden at the Anthony Flower House, which has improved the Flower House site and provided a means of engagement between the students and the historic site.

Gillian Christie-Noble, Oromocto Post-Gazette received the Communication and Public Awareness award for her unfailing coverage of our events.  Whether an exhibition opening, funding announcement or a fun event, Gillian is on site with a recorder and camera to capture our activities and make our region aware of the many things we do.

Eco-Kids of the Cambridge-Narrows School

The award for Sustainability and Development was given to Milton D’Aoust for his volunteer services as groundskeeper – which made for a savings of over $4000 to our budget.  Lawns, signs, plumbing and furniture moving are just a few of the tasks that kept Milton busy over the summer.  Is it generosity or wanting to be near his sweetie?  We’re not sure but we appreciate the work no matter what the motivation!

INK Graphic Design, Saint John, was recognized for several years of work creating the interpretive panels, labels, posters and other promotional materials for Queens County Heritage with the Preservation and Interpretation Award.  Their beautiful work has greatly enhanced our exhibitions over the years and made for many memorable visitor experiences.

Her Majesty, The Queen

Susan Shalala presented the Director’s Award to MLA Ross Wetmore for his support and invaluable assistance since becoming our provincial member.  It is exciting and gratifying to have a partner in the community like Ross who recognizes our work and is always looking out for our best interests and opportunities.  Not to be outdone, Ross then presented a Diamond Jubilee photographic portrait of The Queen to Queens County Heritage which will be placed at the Court House.

Finally, the President’s Award was given to Shawna Quinn, a member, former board member and previous VP Preservation and Interpretation who was responsible for the development and implementation of numerous policies and procedures, preparation of the annual report for many years, and co-curator of several exhibitions.

The board, staff, members and friends of Queens County Heritage extend our heartiest congratulations to the 2012 Honours and Awards recipients and wish all of Queens County the best in 2013!

Art Under the Influence – Caroline A. Slipp Gilbert

Caroline A. Slipp Gilbert (1866-1900)
painting: Landscape, 1897
oil on board
Gift of Doris Neill Brundage, 1995 (1995.64) © 2019 All Rights Reserved Queens County Heritage

Very little is known about Caroline Slipp Gilbert.  Carrie, as she was known, was born about 1866, the daughter of John Slipp and Julia Colwell, Free Baptists of Upper Hampstead.   She married Thomas Winslow Gilbert, the son of Dr. Humphrey Gilbert and Margaret Hewlett of Gagetown, 11 October 1899.  Carrie died in childbirth 26 October 1900 and her death is referenced in Samuel Crawford’s diary.  Thomas married Margaret Ethel Law in 1905 and died 18 October 1925.

This is the only known example of Caroline’s work and shows some skill.  If she had an interest, like most young women of her time she would have pursued painting as a pastime or a means of entertainment.  Certainly she married later in life by 19th century standards, but there is no evidence she worked professionally or had formal training.  The painting seems to be an amalgamation of scenes.  The foreground looks like something local including a facsimile of a New Brunswick woodboat.  The high mountains of the background however indicate something made up or perhaps like Anthony Flower, something she has seen in a magazine or book.  The frame is in excellent condition with a few minor losses over time.  Unfortunately, the painting itself was viciously over-cleaned as some point, losing some of its original sky and water colouring in the process.  This painting was part of Art Under the Influence in the summer of 2012.

If anyone has additional information regarding Caroline, we would be thrilled to find out more about her.  To see the painting in person, visit us in the summer or contact info@queenscountyheritage.com.

Art Under the Influence – John Thomas Millidge

John Thomas Millidge (1850-before 1911)
drawing: Stag and Mountains, c. 1880
graphite on paper
Queens County Heritage Collection (1987.42a) © 2019 All Rights Reserved Queens County Heritage

John Thomas Millidge (1850-c 1919) was the son of John J. Millidge and Isabella Peters, and the great-grandson of James Peters, one of the Loyalist founders of Gagetown.  It appears John Sr. was the local schoolteacher and died relatively young in the 1870s; Isabella in 1890s.  Young John Thomas appears in all census records up to 1901 but disappears from the record by 1911 indicating his death.  According to a story written by Marianne Grey Otty about 1940, he died in the flu epidemic following World War I. In the late 19^th century he lived with his mother’s unmarried sisters, the Peters girls who ran a school for young women in the large Peters House at Gagetown, and worked as a handyman.  Again, according to Miss Otty, he later lived with the Fred Cooper family by the time of the war.

John Thomas Millidge (1850-before 1911)
drawing: Backyard Scene, c. 1880
graphite on paper
Gift of Dr. James K. Chapman, 1988 (1988.59) © 2019 All Rights Reserved Queens County Heritage

His drawings appear to be copies of prints or something he has seen in a magazine (similar to Anthony Flower) however the detail and execution is very fine.  His uncle, Dr. Harry Peters, was married to Ann Wood, the daughter of Reverend Abraham Wood making an interesting family connection to a fine artist.  In the Otty story, it is noted that”here and there in Gagetown homes are to be seen lead pencil drawings of the most careful execution and meticulous detail.” As the children of Fred Cooper swarmed over him, he would draw pictures of them or give them candy.

Millidge’s precise death date and burial is unknown and the details of his life are rather scarce; the only tangible links to his life are two drawings which appeared in Art Under the Influence.

Art Under the Influence – Annie Hewlett Deveber

attributed to Annie Hewlett Deveber (1855-1927)
painting: Ferns, c. 1900
watercolour on paper
Gift of Dr. James K. Chapman, 1988 (1988.60) © 2019 All Rights Reserved Queens County Heritage

With the likes of Abraham Wood and Anthony Flower working as artists in Queens County, it is little wonder that an interest in fine art carried through to subsequent generations.  Annie Hewlett Deveber (1855-1927), Gagetown was clearly inspired by the works of these men with her copies of their work and her own still lifes of leaves and ferns.  Working in watercolour, her ability to capture the fine details of an object in front of her is exceptional.  The still lifes and her ceramic paintings are certainly her forte with landscapes presenting more of a challenge for her.  In our collection is a landscape of the Otty homestead in Kings County which is a copy of an Abraham Wood painting in the collection of the New Brunswick Museum.  In comparing the works side by side, one can appreciate both the talent of Mrs. Deveber but also the superior skill of Reverend Wood.  The Deveber work is a very good copy and it is clear she was learning as she worked, however a naivety appear in her work with awkward details in elements such as stones and the nuances of sky.  For Art Under the Influence, the painting of Ferns, c. 1900 was exhibited and in turn inspired a work of jewellery by Gagetown artisan, Jean Fraser.

attributed to Annie Hewlett Deveber (1855-1927)
painting: Maple Leaves, c. 1900
watercolour on paper
Gift of Adrena M. Paisley Raven, 1976 (1976.75.7) © 2019 All Rights Reserved Queens County Heritage

Annie Hewlett Deveber  was the wife Gabriel Deveber IV (1854-1934), the son of Gabriel Deveber III (1820-1854) and Benjamina Gabriella Deveber (1822-1892) of Gagetown.  Annie married Gabriel IV somewhat later in life given the standards of the day on 27 August 1889 at the age of 34.  She was the youngest daughter of Richard Hewlett (c. 1797-1887) and Margaret Paddock (c. 1813-1873).  Annie and Gabriel had one child, Gabrielle, born in November 1890 but who died a few months later in August 1891 of “congestion of the brain”.

The Devebers lived in the magnificent gothic house in Gagetown,  built 1852-1854 by Lorenzo Langen, called Claremont.  The house is based upon one of Andrew Jackson Downing’s plans for Victorian cottages and houses and is one of the finest buildings along the St. John River.  The family itself includes several prominent Loyalists and early leaders of Gagetown and Queens County.  Gabriel IV’s grandfather was Nathaniel Deveber (1785-1877), the High Sheriff of Queens County for decades.

Annie Hewlett Deveber (1855-1927)
Christmas Greetings, 20 December 1884
Gift of M. Patricia Jenkins, 1974 (1975.485) © 2019 All Rights Reserved Queens County Heritage

As we count the days to Christmas, one of our favourite objects is this  little holiday greeting dated 20 December 1884. Queens County Heritage is proud to possess several other examples of Annie Hewlett Deveber’s works including  a Bohemian glass vase from about 1900.  As noted above, little is known about her background or training, however her work is recognized as very fine and more than competent.

To see the works of Annie Hewlett Deveber in person, be sure to stop by next summer to see the pieces close-up!