Written by Ines Marchand

At the beginning of the 20th century, after the Victorian era, the West entered the Edwardian era under the reign of Edward VII. This period, which marked a significant cultural and social transformation, reflected this change with new sophistications and lifestyle. The Hurtubise family, who lived in Montreal at the time, witnessed these changes, particularly through their own fashion choices. Today, by analyzing the fashion trends seen in the Hurtubise’s family photos taken between 1900 and 1905, we will be able to place the family socially within this vibrant era. 

First and foremost, it is necessary to learn about the overall fashion of the time. Edwardian fashion, existing from the end of the 19th and the beginning of the 20th century, brought significant changes to the Western world’s clothing styles. Montreal, which then experienced a cultural boom, positioned itself as a fashion center in Canada, with shopping streets such as Saint-Paul, Saint-James, Notre-Dame, and Sainte Catherine becoming hubs for fashion, fueled by emerging local manufacturers. 

For women, fashion at the time was characterized by the S-shaped silhouette. As women increasingly entered the workforce, the Victorian silhouette gave way to this new, more practical form. To achieve this silhouette, meticulously designed undergarments were layered on the body. First, a shirt was worn along with underpants. Then, corsets, often custom-made, created the silhouette by accentuating the waist and hips. Contrary to popular belief, these corsets were neither uncomfortable nor restrictive; they offered support similar to modern undergarments while promoting an elegant posture. Over the corset, a corset-cover was worn, which further slimmed the waist while highlighting the bust, and petticoats, with their trailing effect, continued this S-shape below the waist. Finally, the outer clothing was added on top. 

Daywear commonly included long-sleeved tops, lighter or heavier depending on the season, paired with skirts or dresses with similar shapes. Some details accompanied the silhouette, including puffed sleeves, which appeared at the beginning of the 20th century and became increasingly pronounced over the years. Buttoned skirts, also common, often transformed into pants when necessary for sports. Edwardian fashion, while concerned with aesthetics, marked a shift toward a more functional wardrobe for women.  

Suit-inspired clothes for women also emerged as a notable trend, inspired by men’s clothing such as suits and buttoned shirts. Evening gowns, meanwhile, retained the S-shaped silhouette but were generally sleeveless and featured more pronounced necklines, reflecting a less modest fashion compared to daytime wear. 

Accessories of the time added a touch of sophistication to everyday clothing. Hats, either boaters or adorned with feathers, were secured with hatpins. Leather heeled shoes, inspired by those of Louis XIV’s style, featured curved heels and numerous buttons. 

Men’s fashion, though less revolutionary, saw notable adjustments. Three-piece suits, popular since the previous century, underwent few changes. Long coats, known as “tailcoats,” transformed into shorter and less formal jackets. Jackets, shirts, vests, and hats (boaters or bowlers) could all be removed depending on the degree of formality required. The collars of shirts at the time, known as “Imperial collars,” were straight and formal and could also be removed. 

The Hurtubise family’s photos illustrate the emergence of Edwardian fashion. As a middle-class family interested in the arts, the Hurtubise family followed and participated in fashion through their own clothing. The photos allow us to analyze and understand how the last generation of Hurtubise kept up with fashion during a rich and evolving period in Montreal.  

In this first photo, the three-piece suit worn by the men of the family reflects the fashion at the time. We can see jackets, shirts, and imperial collars. From one man to another, we can see the different ways of dressing the suit according to needs and desires. The simplicity and dark colors of the suits highlight the traditions at the time regarding men’s suits. 

Our second photo highlights the generational differences and evolution in the suit and changes in jacket style. On the left, we can see a typical Edwardian suit, with a short jacket and imperial collar, while on the right, we see the vest and attached pocket watch accompanied by the tailcoat, typical of the 19th century. While the younger man on the left wears a boater hat, the older man on the right wears a top hat, also typical of the previous century. 

The woman in the photo wears a skirt and blouse that seem to imitate the three-piece suit while remaining feminine, along with a bowler hat originally worn by men. Her belt is decorated, and, knowing that wristwatches did not become popular until much later in the 20^th century, we ca hypothesize that her necklace also served as a watch.  

The family’s elegance is also demonstrated through the women’s clothing in this photo, particularly through the hidden seams and buttons, creating an illusion of length in the silhouette and showcasing the quality of the garments. For the woman seated in the middle, the seams are likely on her side, while the other two women around her probably have the buttons on the back of their dresses. The busts are also accentuated, and the puffed sleeves well-presented. 

Details can be found in accessories such as tall hats adorned with feathers or on certain parts of the dresses. The hair, meanwhile, is styled high on the head in a bun, but less tightly than in the previous century. These details highlight the move towards a more refined and sophisticated aesthetic of Edwardian fashion. 

The young girl in the photo, dressed like an adult but with loose hair, light clothing, and a relatively short dress, demonstrates an Edwardian fashion also present in children. This aesthetic, evolving with age, allows us to estimate the child’s age range. 

All these trends and details are found in this last photo: puffed sleeves, three-piece suits, embroidered details on the clothes, light and slightly masculine tops paired with long skirts, buttoned boots, and high-styled hair. The two young girls also wear lighter but longer dresses, with styled hair, indicating a more advanced age range. 

However, the clothes worn by the Hurtubise family do not just reflect their concern for style but their social status as well. Fashion choices, such as hidden seams and ornated hats, along with the photographic setting, show an investment in fashion and a desire to maintain a certain appearance. The Hurtubise family, though middle-class, managed to combine aesthetics and functionality, as well as purchased and handmade items, while reflecting the fashion trends of the time. 

Indeed, details in the photos show a relatively high social status and financial means. In our first photo, the refined elegance of the colors and details in the clothing suggests a certain purchasing power and a lifestyle that allowed for wearing light-colored clothes. White or cream-colored clothes were a sign of social status, their maintenance requiring that the wearer stain them as little as possible, which in turn translates to a lack of physical work. This is a sign that intellectual work among the members of the Hurtubise family would have been prioritized, a sign of elevated social status.  

The second photo illustrates the family’s effort to stay in tune with the fashion of the time, with the woman wearing what resembles a masculine suit, a common cut in women’s fashion. 

In our third photo, the hidden seams and buttons of the garments reveal costly craftsmanship. Although these may not be at the peak of fashion, this attention to detail still demonstrates a desire to follow Edwardian fashion. The hats worn further accentuate this desire. 

Finally, our last photo shows the family’s desire to stay fashionable throughout the seasons. The clothing seen is indeed designed to be both elegant and seasonally appropriate. We still see the puffed sleeves, leather boots, tied-up hair, light-colored clothing for the younger girls, and light-colored tops and shirts decorated with lace. This adaptation reflects a particular attention to image and a certain skill in achieving the desired appearance. 

Other details, however, support our theory of handmade elements in the clothing of the Hurtubise family. For example, in the first photo, the young girl wears a dress with a lace collar and sleeves adorned with English embroidery. The embroidery, less fine than the lace, indicates a modification made by the family to add a touch of distinction. This shows a need for personalization, as buying ready-made clothes with certain details would likely have been too expensive for the family. 

Thus, the clothing of the Hurtubise family reveals not only their concern for style, with their neat and elegant appearance, but also their financial capabilities and a desire to be part of high society. The family, despite their appreciation for the arts, remained middle class. It is therefore likely, as seen earlier, that they combined handmade and purchased clothing, opting to modify quality items to achieve desired effects. Being active members of society, it is possible to speculate that the Hurtubise family frequented the fashion shopping streets such as Saint Paul, Sainte Catherine, Saint James, and Notre Dame. The Hurtubise may have obtained their linen and cotton from Dick John or Canadian Colored Cotton Mills & CO on Saint James Street, their corsets from Barry Bros and Compton Corsets on Notre Dame and Grenier C.J on Sainte Catherine, their jewelry from Eaves Alfred on Notre Dame and Eaves Eamund on Saint James, and finally their shoes from Real LTD on Notre Dame. They may also have frequented tailors such as LaMontagne and Morgan & Henry on Sainte Catherine. 

In the end, the analysis of the clothing and photos of the Hurtubise family gives us an insight into their social status and lifestyle, as well as that of any family of the same social class at that time. Through the details of their clothing, from the seams to the ornate hats, it is clear that the family, though middle class, sought to reflect a sophisticated and elegant image. Thus, their clothing reveals not only a desire to participate in high society despite limitations, offering insight into their place in Montreal society of the time, but also an affinity for the arts, a demonstration of their ability to express themselves through the blend of photography and fashion, a subtle yet fascinating narrative that unfolds through the photos taken by Dr. Hurtubise. 

References:
All the clothing pictures, apart from the Hurtubise ones, come from the McCord Stewart Museum archives in Montreal.  

Franklin, Harper. “1890-1899”. Fashion History Timeline, Last updated Aug 18, 2020.  

1890-1899

 Reddy, Karina. “1900-1909”. Fashion History Timeline, Last updated Aug 18, 2020.  

1900-1909

Laver, James. “Costume and Fashion: A concise History”. Thames and Hudson, 2014.  

Milford-Cottam, Daniel. “Edwardian Fashion”. Shire Publications, 2016.  

Archibald, Kristy. “Montreal’s Garment District Past and Present”. Nuvo Magazine, 2021. https://nuvomagazine.com/daily-edit/montreals-garment-district-past-and-present  

BAnQ Numérique. « Collection d’annuaires Lovell de Montréal et sa région, 1842-2010 ». Last consulted in August 2024.  

What was life life for young girls at the beginning of the twentieth century?  

Suzanne Hurtubise, sometimes referred to as Suzette in our archives, was the daughter of Flavien Hurtubise and Alice Rodier. Flavien being the only Hurtubise brother of his generation to have children, his daughters, Suzanne and Claire, were Dr. Leopold’s only nieces.

Suzanne appears in several photos taken by Dr. Leopold, now displayed in the Hurtubise House for guided tours. She may have lived in the Hurtubise house with her parents and sister for a time, or she could have often visited the house during summer holidays. For a long time, we only knew that the little girl in the photos was named Suzanne. The hypothesis was that she was Leopold’s niece, but we were unable to confirm the fact. However, a visitor informed us that in one of these photos, Suzanne is in a room which still exists in Villa Maria high school, which allowed us to dive deeper in our research.

The fact that Suzanne attended Villa Maria gave us a hint into her education. We found receipts dating from 1906 to 1913. This allows us to understand what kind of education she received. There were boarders and day-to-day students at the primary level, but all high school students were boarders. At the beginning of the twentieth century, Villa Maria had between 170 to 200 students. Amongst this number, many of them came from the United States and stayed at the school except for Christmas and summer holidays. 

We might guess that a private Catholic school for girls would concentrate solely on religious teachings and “feminine” learning such as sewing and art. Religion indeed played a big role in the school—the students took part in religious feasts, for example—but there was also a myriad of other classes : the girls studied subjects such as astronomy, history, and literature. Professors from Loyola University and Université de Laval were invited to enrich courses for the students. They also sometimes participated in outings —once, the students were invited to Loyola to assist in experiments on X-Rays. There was also time for extracurricular theatre activities. For example, the students performed Shakespeare plays at the schools. After leaving Villa Maria, the young girls probably had one of the most well-rounded educations available in Montreal at the time.¹

Even after our discovery about Suzanne’s schooling, we had no traces of her after her studies other than letters which are addressed to her in our archives. We did not even know whether the letters we found were for our Suzanne or a different one. However, thanks to deeper research in newspaper archives, we were able to find Suzanne’s wedding notice. In 1920, she marries an Englishman from London, C. Vivian Pullen. Her marriage allows us to understand that the Hurtubise, although French in origin, found themselves in the same social circles as Anglophones in Montreal.  

Suzanne was also very well-travelled. She would have visited Europe with her husband and later her sister for long periods of time. We also know that she would have visited or lived in New York thanks to letters addressed to a “Mrs. Pullen” at an address in the city.  

It seems that Suzanne and her husband C. Vivian Pullen never had children. We have not found his first name nor traces of his life in Montreal, but we have found Suzanne’s obituary. She passed away in Montreal in 1984. She was 88 years old, placing her birthdate in 1896. She would have seen the quick urbanization of Westmount with her own eyes, won the federal right to vote with all the women in Canada in 1919 during the first world war, and won the provincial right to vote in Québec in 1940 during the second world war. She lived through Expo 67 and would have seen the 1976 Montreal Olympics. In 1984, she leaves behind two nieces, daughters of Claire, and two cousins from her mother’s side of the family.

 Suzanne was buried in the Notre-Dame-des-Neiges cemetery after a long and rich life. It is through the photos of Dr. Leopold displayed in the Hurtubise House that we can now remember her childhood and imagine her life.  

1. Helen Lanthier, “Monklands Then, Villa Maria Now.” Congrégation of Notre Dame, p. 38–40 
   “Annales de Villa Maria,” Archives de la Congrégation de Notre Dame. 
     ↩︎

Written by Ines Marchand

In 1699, Louis Hurtubise acquired agricultural land in New France, Canada, and transformed his family into farmers. Since then, the Hurtubise family’s wealth has flourished, surpassing neighbouring farming families. Their prosperity is still visible today through the architecture and composition of the Hurtubise House, which still stands in Westmount. The Hurtubise family’s agriculture practices evolved over time, going through phases that have been found to correspond with the different agricultural phases observed in Quebec between 1600 and 1910.

With the mass arrival of French settlers in early 1600s New France, agriculture and farming were the main occupations for settlers, following the example of Louis Hebert, the first agricultural settler at the time. Agriculture and colonization were heavily encouraged then and throughout the rest of the century. Another important figure at the time was Jean Talon, who introduced hemp cultivation and livestock breeding in New France.

The Hurtubise family was no exception. They joined the other settlers in practicing agriculture and farming. From 1699 to 1800, their farming would have primarily consisted of cereals. They cultivated oats, wheat, and barley. They also seemed to cultivate plants like peas, more likely for the family’s consumption. They also owned animals that served for domestic purposes. They owned nine pigs, four horses, eleven cows, and three bulls, which they fed thanks to their oat crops. Their surface of the land which was able to be farmed was 3 by 29 arpents (one arpent equals 192 feet), and their production included 38 bushels of wheat, 42 bushels of oats, 15 bushels of peas, and one arpent of tobacco for personal use, which emerged in 1798. During this period, the family’s main farmers were Louis Hurtubise (1699-1703), Jean Hurtubise (1724-1766), and finally Pierre-Jérémie Hurtubise (1766-1792). As in all Quebec farming families, the land succession was done from father to son. Thanks to the location of their land on the slope of “West Mount,” water flowed down and through their land naturally, promoting ideal conditions and minimizing crop losses.

After 1793, English-speaking settlers settled around New France, introducing potato farming. However, agriculture remained the main activity of French-speaking settlers.

At the beginning of the 19th century, Quebec faced agricultural difficulties, a period nicknamed The Agricultural Crisis of the 19th Century. According to historical theories, the crisis was caused by wheat production declining in Lower Canada, giving Upper Canada the upper hand in wheat production and selling. The French settlers, mainly from rural backgrounds, lacked knowledge of modern agricultural techniques. This led to a decline in production and a dramatic impoverishment of the peasants, who then turned to subsistence farming.

During this agricultural crisis, we can observe the first shift in Hurtubise’s agriculture: the incorporation of market gardening. According to our data from 1861, the cultivable area now included 32 acres of field crops, 8 acres for pasture, 3 acres for the orchard, and 2 acres of woodland, or 45 acres in total. Their production, at the time, was 30 bushels of wheat, 30 bushels of barley, 25 bushels of peas, 100 bushels of oats, 600 bushels of potatoes, 100 bushels of carrots, 3 tons of hay and 300 bushels of butter. The Hurtubise family still had animals: six cows, including three milk cows, five horses, and four pigs. The farmers then were Pierre-Jérémie (son) Hurtubise (1798-1829) and Antoine-Isaïe Hurtubise (1829-1878).

This shift suggests that despite their land’s fertility and low losses, the Hurtubise family adapted its practices with the rest of New France. The incorporation of new crops, while arguably unnecessary in their case, anticipated a need for subsistence due to the economic decline for farmers in Quebec. However, there is no trace in our archives today of a decline in wealth among the Hurtubise family during this period, suggesting that they were more fortunate than their counterparts.

Although we do not have precise traces of the family’s daily life at the time, we can still imagine a typical day at Hurtubise House. The day at the farm began early, with the men caring for the milk cows and the chickens’ eggs. Mornings were devoted to market gardening, maintaining and harvesting fruits and vegetables. The rest of the day was dedicated to the fields, where cereal crops still had to be planted, sown, and harvested. During this time, the women and children stayed together in the house’s main room, preparing copious meals to feed the whole family, especially the men, who required a lot of energy.

Due to the decline of wheat, the agricultural crisis forced many farm families to change their practices. Although agriculture was still present in Quebec, it was no longer as prosperous as in the rest of Canada. Towards the end of the 1800s, Lower Canada, or Quebec, turned to the dairy industry to meet its needs.

At this time, the sixth and last Hurtubise generation lived in Westmount. This generation abandoned agriculture to turn to studies, like Dr. Léopold Hurtubise, the house’s last owner. Records from 1873 show that after Antoine-Isaïe sold 9.4 hectares, the remaining 7.1 hectares were used to grow chamomile, cucumbers, ivy, chives, potatoes, leeks, turnips, onions, flax, strawberries, thyme, radishes, nasturtiums, beets, parsnips, mustard, corn, pumpkins and peas. The remaining animals were one cow, twenty-four chickens, three ducks, and four horses used for carriage travel. Isaïe Hurtubise, son of Antoine Isaïe, was the last farmer, from 1878 to 1893. The remaining crops were used only for the family’s needs and, therefore, had no financial purpose.

Today, only the Hurtubise House and its archives bear witness to the existence of this family and their daily lives as farmers. Nevertheless, a commemorative garden was built on site to trace and represent the former lands of the Hurtubise family on a smaller scale.

References:

Dick, L., & Taylor, J. (2024). Histoire de l’agriculture jusqu’à la Deuxième Guerre mondiale. Dans l’Encyclopédie Canadienne. Repéré à https://www.thecanadianencyclopedia.ca/fr/article/histoire-de-lagriculture

Lavertue, R. (1984). L’histoire de l’agriculture québécoise au XIXe siècle : une schématisation des faits et des interprétations. Cahiers de géographie du Québec, 28(73-74), 275–287. https://doi.org/10.7202/021660ar

By Julie Jacques

A twentieth century Beaux-Arts style porch on a house dating from 1739 can seem odd at first glance. At the Hurtubise House, this porch is not an anachronism but rather a hint. Its history can help us better understand the family who lived in this historic house for six generations.  

The porch, in any iteration, is not from the original construction of the Hurtubise House. When the structure was built, there were only stairs. The absence of a porch offered easy access to the basement which was probably used for storing harvests during the winter. The door which opens into the basement still exists today under the porch.  

It is clear that no historical house is without renovations. Each generation of Hurtubise left their own trace on the house and yard which belonged to them. During restorations carried out by the Canadian Heritage of Quebec (CHQ), five distinct layers of flooring were found. As mentioned, the house did not always have a porch, and we do not know exactly when one was added. It would have been added between the first and fourth generation, between 1739 and 1878, in addition to the work to extend the roof, which now covers and protects the porch from the sun and snow.  

However, the old style of the porch can help us reach a more exact estimate. This style, seen in photos from the beginning of the twentieth century, seemed to have a Victorian influence. The porch, and particularly its posts, bears resemblances with other houses around North American of Victorian and gothic rebirth styles.¹ Of course, the porch is very simple compared to others of real Victorian style; the Hurtubise House remains a French-Canadian farmhouse. 

Nevertheless, this helps us guess that the porch, or at least this quasi-Victorian iteration of it, was maybe built during the Victorian era between 1838 and 1870. (The Victorian era lasted until 1901, but the brick annex of the house was built in the 1870s. We believe that the porch likely predated the annex.) 

Although we cannot know exactly why the porch was added after the initial construction of the home, it is easy to picture the Hurtubise family enjoying precious summer days, long awaited after a long and harsh winter. They would be protected from the sun by the roof extension while they entertained guests or finished household chores—I think of my grandmother who recalls that her grandmother often sewed while sitting outside during the summer.  

Dr. Leopold Hurtubise, the last Hurtubise to have lived in this home, was responsible for the Beaux-Arts style porch, dating from 1911. From this, as well as from the photos he took with his bicycle camera over the course of his studies, we can guess that he was a man who appreciated the arts. As a doctor and amateur photographer, we see in his personality a marriage of arts and sciences. His photos show his appreciation for this porch and the exterior and nature which surrounded the Hurtubise House.  

Don’t hesitate to come and see the evolution of the porch as part of our temporary exhibition on the photos of Dr. Hurtubise, included in the visit to the Hurtubise House https://hcq-chq.org/the-hurtubise-house!

1. Thomas Durant Visser. “Victorian Porch Styles,” Porches of North America. University Press of New England, 2012.  ↩︎
2. Thomas Durant Visser. “Victorian Porch Styles,” Porches of North America. University Press of New England, 2012.  ↩︎

Written by Julie Jacques

How much would you pay for a melon?  

Despite the rising cost of our weekly groceries, it is difficult to imagine that in 1905, a type of melon grown in Montreal would sell for the equivalent of $35 per slice in Chicago, New York, and Boston hotels. Indeed, there was such a melon.¹ Sometimes nicknamed the Montreal muskmelon or the Montreal nutmeg, it was sold at the price of gold!  

When I hear this, I can think of only one thing: tasting that melon. Unfortunately for us, the fruit seems to have been lost to time. It would have been harvested in Montreal from the latter end of the 1800s and would have disappeared around the 1950s.² The fruit’s finnicky nature, the urbanization of Montreal’s Westmount neighbourhood, and the pull of easier-to-grow melons on farmers all seem to have led to the disappearance of the supposedly superior melon.  

According to farmer Ken Taylor, the Montreal melon required a delicate hand to prevent it from rotting or cracking. It needed attentive watering, ventilation, turning, and even gentle lifting from the ground with a flat rock or shingle.³ It also needed ample fertilization, which, according to Taylor, was easy to come by for the farms on the west of Mount Royal because they were surrounded by horse racing venues.⁴

The Décarie and Gorman family farms were known to be the primary source of the melon in the market. However, we think it may be possible that the last Hurtubise generation to have farmed the Hurtubise land could also have grown this fruit. In fact, Décarie and Hurtubise were neighbours! Isaïe Hurtubise farmed his land until the 1890s. During his time, the farm moved from growing cereal crops to focusing on vegetable and fruit crops for sale at markets. This could have included the famous melon, which is thought to have started its Montreal legacy around the 1870s, for some years before Isaïe’s death in 1893. ⁵

The fate suffered by the melon was not unique. Forty years earlier, the sixth generation of Hurtubise, Isaïe’s heirs, also faced the rise of the middle class and professional jobs, as well as the residential development of Westmount.  They were unable to continue the tradition of farming the Hurtubise land. Times had changed: what was left of the farmland was divided into 100 lots, sold to become the residential lots that we now know around Victoria Street, from Chemin de la Côte-St-Antoine to Mount Summit.⁶

The Décarie farm suffered the same fate when it began to be sold off in the 1920s.⁷ We can imagine that what land was left unsold needed to focus on crops which were less demanding than the Montreal melon, which would have contributed to its decline.  

Today, several farmers and academics work to find and germinate seeds from the Montreal melon because they believe crops are an important way to better understand a place’s cultural heritage.⁸ Likewise, we believe that to understand the history of the Hurtubise, it is important to situate oneself in the agricultural context of the time. Thus, at the Hurtubise House, we nurture raised vegetable gardens to call back to this tradition.⁹ We might even venture to say that our small urban garden is itself part of the cultural heritage of Montreal, Westmount, and the Hurtubise family.  

1. Daphné Cameron, “Le mystère du melon de Montréal enfin résolu?” La Presse, 8 June 2024.
   Tori Marlan, “This Melon Used to Sell for $24 a Slice. Should it Make a Comeback?” Buzzfeed News, 3 January 2016. ↩︎
2. Daphné Cameron, “Le mystère du melon de Montréal enfin résolu?” La Presse, 8 June 2024.
   Fabien Deglise, “Le melon de montréal ne fait plus le poids,” Le Devoir, 11 October 2006.
   Sophie Lachapelle, “Un melon mythique!” L’actualité.com, 22 April 2013.
   Clémence Ménard, “Vers un possible retour du melon de Montréal?” Ville en vert, 1 September 2021. ↩︎
3. Tori Marlan, “This Melon Used to Sell for $24 a Slice. Should it Make a Comeback?” Buzzfeed News, 3 January 2016. ↩︎
4. Tori Marlan, “This Melon Used to Sell for $24 a Slice. Should it Make a Comeback?” Buzzfeed News, 3 January 2016.
   “L’histoire du melon de montréal,“ Quelle histoire!, accédé le 17 juin 2024. ↩︎
5. Alan M. Stewart et Léon Robichaud. “Étude patrimoniale de la maison des Hurtubise : Rapport présenté au Ministère de la Culture et des Communications et à l’Institut d’histoire de l’Amérique française,” mai 2001.  ↩︎
6. Daphné Cameron, “Le mystère du melon de Montréal enfin résolu?” La Presse, 8 juin 2024. 
   Clémence Ménard, “Vers un possible retour du melon de Montréal?”  Ville en vert, 1 septembre 2021. ↩︎ ↩︎
7. Daphné Cameron, “Le mystère du melon de Montréal enfin résolu?”  La Presse, 8 juin 2024.  ↩︎
8. Daphné Cameron, “Le mystère du melon de Montréal enfin résolu?” La Presse, 8 juin 2024. 
   Clémence Ménard, “Vers un possible retour du melon de Montréal?”  Ville en vert, 1 septembre 2021.  ↩︎
9. « Le projet ‘agriculturel’ de la maison Hurtubise. »  hcq-chq.org
   https://hcq-chq.org/le-projet-agriculturel-de-la-maison-hurtubise/ ↩︎ ↩︎

You wish to visit the Hurtubise House?

Exciting news: the photography exhibition is now accessible for our visually impaired visitors! Ask for the audio guide!

Ease the process by booking directly online (see below)! Do not forget to wait for our confirmation before coming on your guided tour.

If you prefer to reserve by email, you still can do it by writing at coord@hcq-chq.org 

General Informations

From July 8 to July 24 is happening Historic Places Days, an event created by the National Trust for Canada! The goal is to discover and celebrate the Canadian heritage.

Come to visit us by reserving your spot at coord@hcq-chq.org

This summer, treat yourself to a journey through time in pictures.

This summer, there’s no need to travel far for a change of scenery. Maison Hurtubise, located on chemin de la Côte-Saint-Antoine in Westmount, transforms itself into an exhibition gallery during the summer and invites you to take a trip back in time to the Belle Époque, through a photographic exhibition featuring numerous photographs taken by Leopold Hurtubise.

“En photo… Être montréalais à la Belle-Époque” presents unpublished photographs taken by Dr. Hurtubise in the early 20 th century, from 1901 to 1908. Nearly twenty images captured by the photographer’s Premo bellows camera are on display in the ancestral residence that bears his name. These photos have been selected from some 300-glass plate negatives dating from the early 20 th century, bearing witness to Montreal’s urban life at that time.

Far more than a simple photographic exhibition, this initiative by the Canadian Heritage of Quebec (CHQ) promotes a long-term historical vision. The CHQ has embarked on the immense task of archiving this rich photographic collection documenting Montreal’s social history. Stored in the archives of Maison Hurtubise, these documents required special attention.

The Heritage team has ensured that the exhibition is accessible to all audiences, including the visually impaired, who will be offered a bridge between the visible and perceptive worlds thanks to a detailed and explanatory audioguide.

Come experience La Belle-Époque in pictures through the eyes of Leopold Hurtubise, Tuesdays, Wednesdays, and Thursdays, from June 20 to August 10, 2023, at 561 chemin de la Côte-Saint-Antoine in Westmount. Visitors must reserve their guided tour in advance to coord@hcq-chq.org.

We look forward to welcoming you!

Congratulations to all the winners of the 2023 edition of the prize “Capture ton
patrimoine”!

Hurtubise House had the pleasure to welcome the team of Action-Patrimoine in order to
celebrate the finalists of a photography contest that aimed to highlight Quebec’s
heritage. The contest allows students from the 3rd cycle of elementary
school, as well as those from high school to explore their region’s heritage through the art of
photography. The finalists came at the event with their proud relatives and teacher
mentors.

A special bravo to Gaïa Viénot, the winner of the distinction prize, who charmed the jury with a beautiful photograph of a carpenter working with wood! Her photograph successfully represents an aspect of Quebec’s intangible heritage. A Canon EOS Rebel T7 camera was given to Gaïa!

To have a better look at all the finalist’s photographs, please do not hesitate to visit the
website of Action-Patrimoine!

Few words on the Festival d’Histoire de Montréal

Montreal has a rich history: alive, intense and multicultural! Come to discover or rediscover it through 14 history, archeology and ethnology museums that are accessible to everyone. Their exhibitions and archives gather more than 2.3 million objects that express the evolution of the territory of Montreal from prehistory to the present day. Each year, the museums present with passion and precision more than 30 exhibitions and events along with regular visits and numerous online activities. Fourteen museums and just as many ways of telling the stories of the city and its past… and to make us love it even more.

➡️ To learn more about it, visit the website of the Festival d’Histoire de Montréal

The Proposition of Hurtubise House

Have you ever asked yourself what a dissection over a century ago would have looked like? Have you ever tried to imagine the way Queen Victoria’s death has been honored in Montreal?

Coming back for another summer, the photography exhibition from the turn of the 20th century is featured in the Festival d’Histoire de Montréal! Come and discover immortalized scenes taken by the last occupant of Hurtubise House, Leopold Hurtubise. Be ready for fascination and wonder!

Novelty! Do not let your visual handicap keep you from the visit: the photography exhibition made several ajustements in order to adapt it for our public with visual impairment. Do not hesitate to come and ask for our adapted guide to live a unique audio experience!

Event details

Would you like to come to Hurtubise House for the Festival? Here you have some practical information…

🗓️ When? May 12, 13 and 14, 2023

💲Prices:

• 5$/person (14 years old and over)
• Free for 13 years and less
• Note: plan to have the exact amount in cash

IMPORTANT! Before coming to the house, be sure to reserve your spot at the following email address: coord@hcq-chq.org

3 easy steps:

1. Choose your day: May 12, 13 or 14, 2023
2. Select your preferred moment: AM (10:00-12:00) or PM (1:30-3:30)
3. Tell us if you need an adapted guide

Enjoy your visit!