Canadian Philatelist Philatéliste canadien - The Royal Philatelic ...
Canadian Philatelist Philatéliste canadien - The Royal Philatelic ...
Canadian Philatelist Philatéliste canadien - The Royal Philatelic ...
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Partridge portrait was rescued and was eventually mounted<br />
where it remains to this day in the Lobby of <strong>The</strong> Senate.<br />
Since that time the Government of Canada fears that Queen<br />
Victoria’s Ghost is trying to destroy this portrait, the only one<br />
in existence that shows her withered arm, therefore we have<br />
a 24-hour guard watching to ensure that nothing flammable<br />
(such as flash cameras) can ever come near this portrait of<br />
Canada’s first Queen.<br />
I suspect that the guard was exaggerating a little to<br />
entertain this tourist but, nevertheless, his story only<br />
adds to the interest we may take in Queen Victoria.<br />
She achieved greatness, well beyond many previous<br />
British monarchs, in spite of being handicapped. One<br />
weakness in the guard’s story is the fact that the first<br />
fire, in 1849, was while Victoria was still alive, so it can<br />
be assumed that “her ghost” was with her in England,<br />
not in Montreal. Nevertheless, I still wanted to have a<br />
copy of this portrait so I contacted my local Member of<br />
Parliament, who was sympathetic but told me that it<br />
was not possible to get permission to take a photograph<br />
of this painting. I let the matter drop until 1988 when<br />
New Zealand issued an attractive souvenir sheet that<br />
showed the full Chalon Portrait, the one John Partridge<br />
had called “a lie”. This souvenir sheet renewed my interest<br />
in obtaining a copy of Canada’s portrait of Queen<br />
Victoria but further enquiries got the same results as<br />
before until 2002 when Mr. Lynn Myers M.P. referred<br />
my request to Mr. Blair Armitage, Acting Usher of the<br />
Black Rod in <strong>The</strong> Senate of Canada This led to me being<br />
given permission to purchase a 5x7 inch Black & White<br />
print of this painting from LUX Photographic Service,<br />
photographers for National Archives of Canada.<br />
<strong>The</strong> National Archives also sent me photo copies of a<br />
number of documents related to John Partridge and his<br />
portrait of Queen Victoria. An interesting item found<br />
among these documents is a hand-written note from<br />
Sandford Fleming dated December 22, 1901 saying that<br />
after the fire of 1849 a copy of the picture of Queen<br />
Victoria was “made by an excellent artist Mr. Berthon<br />
and (given?) by the late Senator G. W. Allen to the City<br />
of Toronto for the City Hall”. I have not seen this copy<br />
but I wonder whether it also shows Victoria’s withered<br />
arm and is, therefore, also a target for Victoria’s ghost. I<br />
must look for it next time I am in Toronto.<br />
At the Stamp Club meeting where I first heard of the<br />
Partridge portrait of Queen Victoria, we had a debate<br />
about whether the 12-Penny Black was actually a Chalon<br />
or a Partridge portrait. At ROYAL*2003*ROYALE we saw<br />
an amazing single-frame (16-page) exhibit of Canada’s<br />
12-Penny Black and I was able to take a close look at the<br />
detail of the stamp and I am convinced that it is neither.<br />
Sandford Fleming drew the picture, he likely referred to<br />
the painting that he had “under his drafting<br />
table” but the stamp design is unique in several<br />
details so it can only be called an original<br />
“Fleming”.<br />
Of the two formal portraits of the young<br />
Queen Victoria, Chalon’s is clearly the most<br />
famous. This is a shame as the Partridge portrait<br />
shows the Queen’s handicap and, therefore,<br />
serves to enhance her achievements.<br />
She could be called “<strong>The</strong> Poster Girl for the<br />
Handicapped”. If a teenage girl with a handicap<br />
can become Queen and serve successfully<br />
for more than 60 years, there is no limit to<br />
what any of us can do, if we have Victoria’s<br />
determination to succeed. *<br />
NOTES<br />
Permission to show the Partridge portrait was granted by<br />
Mark A. Audcent, Law Clerk and Parliamentary Counsel, “on<br />
the condition that the illustration is clearly identified as taken<br />
from a painting located in the Senate of Canada lobby ..”.<br />
Various staff members at the National Archives were extremely<br />
helpful to me in preparing this article, once the above permission<br />
was granted.<br />
In spite of my difficulties in obtaining either a copy or permission<br />
to photograph the Partridge portrait, a Grade 8 student<br />
on a school trip, in 2003, was able to photograph the painting<br />
and has given me a copy of his picture.<br />
MA06 • the CP / le PC • 103