Remembering the Pierre Laplante auction- a vast collection of Quebec folk art and antiques

We first met Pierre Laplante when he participated for one time in the 1997 Bowmanville Spring Folk Art and Antique show.  We set up just down the aisle from him and before the show was over we had gotten to know each other through many friendly exchanges, and also he bought a giant lumberjack that was our show stopper to put in his indoor pool area at his rural home.  Nice fellow.

It was announced at the show that Bill Dobson was managing an auction of Pierre’s collection on May 17 and 18th, with auctioneers Tim Potter and Cec Knight in Kingston.  It was exciting news as Pierre had a reputation as a very serious collector of Quebec folk art.   We had heard many stories from the pickers in Quebec of the dentist from Montreal that would buy almost everything that they would bring to him.  Often this was said in the form of an apology for not having anything to offer us.

cigar store Indian marked “Illinois”, late 19th cent. – $5,000

If you have the money and the will this is a very effective way to collect.  Once a few pickers know they can rely on you to buy almost anything they bring you, they will put in a special effort, offer everything to you first, and as they say be happy to “make hay while the sun shines”.  It was rumored that after a few years of collecting this way, the barn and out buildings at his weekend farm in the La Prairie region south of Montreal were chock full of wonderful stuff.   Folk art was still a very strong market in 1997 so when the auction came, we broke open our piggy bank, and went loaded for bear.

mounted wooden model of a steamship,early 20th cent. – $750

The catalogue has an interesting two page introduction by Pierre which explains his interest.  It begins:

“The wellspring of folk art lies in the heart, not the wallet.  It is an audacious mix of techniques and materials; a multiplicity of themes and genres.  Folk artists are not artists in the conventional understanding of that word, rather they are ordinary folk without pretense or grand artistic ambitions. Through Quebec folk art, we can glimpse the geographical, historical, social, and religious character of the province, and in that sense, the heritage of Quebec folk art ranks along with its architectural and technological history.”  He goes on to discuss the many factions of folk art and concludes; “ I have collected folk art for over 30 years.  It’s a past time – even a passion – that gives me the opportunity to meet people who live anonymously but have many things to say, and they do speak, in their own way.  Many of these talented people are not considered artists.  They should be. Perhaps if they had lived in another place or another time, they would be considered such. There’s so much great folk art there that deserves a place of honour in all art collections.”

Well said Pierre, and the massive, well organized, two day auction saw many such pieces make their way into some important collections, while realizing some pretty phenomenal sale prices.

Lucien Legare horse, buggy and rider

We were able to buy a lot of stuff. We paid relatively big money for some things like this Lucien legare horse, buggy and driver at $750, but with so much on offer we were able to scoop up many bargains as well.  Like this Felicien Levesque tableau of the Titanic sinking at $625. Well under the money.

The Titanic by Felicien Levesque

Things started out modestly with maple sugar molds, and smaller carvings and accessories going in the expected $200 t0 $400 range, and then people started paying attention when lot 161, a painted whirligig Mountie which is illustrated on the cover went for $900. Soon after a tin rooster weather vane in old white paint realized $1,250.  Then lot 195, a knife with carved wooden handles in the form of a fleurde lis with a man’s head brought $1,900.  Things were moving.

There were a few gasps when a beautiful Nova Scotia document box from 1914 with interlocking hands, hearts, stars, and leaves went for $1,900. Followed shortly after by an oil on glass painting of tugboats on the Saint Lawrence attributed to Captain P. Carbonneau which saw $2,500. An Alcide St Germain hanging flying goose achieved $1,000, and the tone was set.  Here’s a couple of the highlights.  There were many more.

We went on to establish a relationship with Pierre after the auction and were invited to visit him and his wife at their farm.  We had a wonderful evening of laughter,  good conversation and an excellent meal, and we even enjoyed the adventure of climbing up the tiny ladder to the second floor guest room of the century old farm house.  I made sure my bladder was empty though because I didn’t fancy climbing down in the dark to find the washroom.  We realized that for as much was sold at the auction, he had twice as much great stuff still in his collection.   We even had a chance to say a quick hello to our lumberjack friend in his new residence by the pool.

large pulpit decor from Grosse Island where Irish immigrants were held in quarantine, made as a greetings from French Canadians. – $3,100

Antiques I love, and why I love them – part 2, a tiny tin fiddle

 A friend and fellow folk art enthusiast came by yesterday, and while we were enjoying a nice cup of coffee the conversation lead to an exchange questioning what is it about certain objects that make us like them more than other objects?   Any conversation about personal aesthetics is at best subjective, and at times downright obscure, but it is better than talking about the weather.  So as an attempt to get down to defining the source of the desire to possess I asked my friend, “Hypothetically, If I were to let you take home one item from our collection that you can see from where you currently sit , What would it be”.  After a pause and some reflection he said, “I would take that tiny fiddle hanging on the wall over there”. This surprised me, because we have a lot of flashier, obviously more expensive items around, but yet I understood, and might likely to have answered in the same way.

It is unclear if this 18” long, 4 string fiddle made from an old herring tin and carved wood was ever meant to be played, but my guess is it was playable when it was made.  When I study it, I imagine that it may have been created as a gift to a child to encourage musicianship, but it is equally possible that it was created as a “gag” instrument to be pulled out for surprise at a strategic moment in a performance.  Maybe the guy or gal just wanted to make something to put on the wall, or to give as a gift.  It’s fun to think about, but in the end you get back to the object. 

I remember finding it under a big pile of junk in Alan Chauvette’s  pickers barn near Victoriaville Quebec back in the early eighties.  Alan was standing nearby writing down what we were buying and the prices.  I held it up and said “how much for this”  Alan glanced up and said “$45”.  “O.K. write it down”.  I don’t think he looked closely, or maybe he doesn’t share my aesthetic because I felt it was a steal.  But then again I have come to realize that things of great esthetic value do not always get recognized monetarily.

Some people, or I would imagine many people would think that even $45 is too much for a rusty old tin can fiddle, but they are different from me.  I love the thing.  I brought it home from Quebec.  I hung it on the wall, and to quote the late, great Charlton Heston, “ to get it, you will have to wrench it out of my cold, dead, hands. “ So what is it?  Obviously, the colour and untouched patina are superb, and the form and hand carved neck and machine heads are beautifully executed in a functional, yet slightly primitive sort of way.  The “F” holes are beautifully cut out, and the construction of tin, wire, and wood is wonderful.  All these elements hit  the pleasure buttons in my  brain, but I think it Is the fact of the herring tin body that puts me over the top.  I looked for a long while half consciously wondering how they got the herrings out of the tin which looks original and undisturbed save for the “F” holes, before I investigated and saw that there is a neat row of nails around the bottom attaching it back to the sides.  Great care was taken to create this.  A real labor of love. I love the way it is, but when I imagine it with it’s bridge intact, and the other three strings, I wonder what type of sound it would have made.  One would assume, tinny.

I found my “sunshine” tractor in a little shop north of London, Ontario a long time ago.  Again it was an item which went straight to my heart, and as I purchased it I knew it was something for me.  Something I would never want to give up.  I’ve bought and sold hundreds of hand-made toys, many more impressive in construction and scale, and yet it is this tractor which continues to sit in a glazed cupboard overlooking my work desk.   I love it’s construction and form and colour, but the element that takes it into my top drawer is the little “sunshine” sign.  I’m not an armchair psychiatrist per say, but it doesn’t take Freud to understand that my love probably has a direct route back to my mother singing me “You are my sunshine, my only sunshine” while I lay sick in bed with the measles at the age of ten.  That song is such a bittersweet tour de force isn’t it?  I get emotional just thinking about it.

 

Lastly, we come to “Old 99” (see 99 painted on the door). To be honest I don’t love it nearly as much as I love the tin fiddle or “Sunshine”, but I do love the fact that someone with welding ability, probably a professional welder, took the time and effort to make his or her child an indestructible toy locomotive, with a space at the back to put an engineer.  Is that an old bullet used to make the smokestack?  I hope not.  The poor kid could blow up.

For the Birds

As I have mentioned before in this blog, my wife Jeanine collects folk art carved birds.  Our kitchen is full of them.  I miss them when we are away.

Birds, for the most part are a pleasant and relaxing part of our natural environment.  Except of course when they are dive bombing you for being too close to their nest, and then they’re not so relaxing.  Otherwise, we enjoy watching them fly, and chirp, and hop around the back yard looking for bugs. They are entertaining.  I suggest that this is the reason that it is one of the most commonly carved species, and often the first carving an artist will undertake.  Birds makes for an interesting collection because there are so many approaches and attitudes to the subject.  Some strive for accuracy.  Others a stylized approach.  Some are abstracted, while others are barely recognizable.  I tend to admire skill and craftsmanship, but it’s the crazy and primitive ones that turn my crank.  After my morning coffee I took a look around the room and photographed a few of my favourites .   With some little notations attached.

I hope that you enjoy looking at them.  I do.  Every morning.

sparrows in flight

Jeanine is keen on finding more of these little carved sparrows.  We may because I have the feeling that these although hand carved, were commercially produced and sold in gift shops.  Perhaps a little cottage industry item from Eastern Canada, where we found them.  Or even possibly overseas. If so, I would think Europe or England as opposed to Asian.

Red-winged blackbird by Yvon Cote

a Cote decal. Not used on every carving.

This Cote red-winged blackbird is typical of the Gaspe artist.  I will make him the subject of a future blog, but for now suffice to say that his work is easy to recognize because he used pencil crayons for colour and then lacquered over top, and even when a piece doesn’t have his decal, you can tell it is him by the form, colour, and little wire legs.

Here’s a new addition to the family.  this friendly little Carolina Wren was created by C. Bodley of Toronto.  He was good enough to name and sign it on the bottom.  It’s a good example of a work that looks like the species, but also contains personality.  He also created this wonderful diminutive owl

Owl bu C. Bodley, Toronto

 

 

 

 

What follows is a bunch of little birds with different approaches, by different artists at different times.  Most of them are from Quebec.  You can see run the gamut in terms of approach.  Although it is perhaps the piece that looks the least like an actual bird, I love the little beige bird by Cadieux.  His name is stamped on the bottom.  I also love the little blue bird which looks almost like a cartoon.  it is made very carefully. Those wings are thin wood, not metal.

Which one of these do you like the most?

Someone even decided to make a little bird using wicker. This little fellow somehow comes across as looking quite mad.  And last but not least we have this hanging black and white bird on a perch.  Interesting construction, and can anyone figure out why his wings are on backwards?   Could this really be intentional?  Perhaps dyslectic?  Go figure.

 

Fond remembrances of participating in L’ Exposition et Vente d’Antiquités d’Eastman

In the late nineties, it was common knowledge that the two finest country antique shows in Quebec were the North Hatley show held in July, and The Eastman show which ran in late September.  The two towns are situated about 30 kms apart in the beautiful Eastern townships region,  and so you would think that many of the same people would attend both shows, but the reality is these shows reflect the “two solitudes” of Quebec, with the North Hatley show being attended mostly by local, English-speaking home and cottage owners, while Eastman is predominantly attended by local Francophones.   In those days at least, not many of the English dealers who participated in North Hatley would consider doing Eastman. They believed that unless you were recognizably French Quebecois with good language skills you would be overlooked.  We heard this over and over for a few years before we decided to test the theory.  I get by fairly well with my high school French, and of course Jeanine being from France, speaks the language beautifully.  The thing is although neither of us were Quebecois,  we determined that we could overcome this by just being welcoming, open, and good natured.  We also liked the town and would go through from time to time to visit a good shop there,  Antiquities Rosalie.  A family place where we often found good folk art and early smalls. 

Antiquities Rosalie

We knew also that the mayor there,  Mr. Pierre Riverin was one of the biggest collectors of Quebec folk art in the country.  He had “made” our show in North Hatley the previous year and suggested that we come to Eastman.   So we contacted the show promoters and were happy when they welcomed us to come, and gave us a space in the main salon which was in the basement of the church at that time.  This original space only held 15 dealers and as this was 1999 it was the first year that the show had been expanded to a second salon in a “Golden Years” club a couple of blocks away, bringing the total to 30 dealers.  Of course people checked out both locations.

Unloading through the back door into the basement we definitely felt like the “new kids’ at school, but everyone was friendly and helpful and it didn’t take long to set up and feel quite at home.   We discovered that Tom Devolpe,  a dealer friend of ours from Montreal was doing the show as well, and we were staying at the same motel so we suggested that after setting up he come to our room for a glass of wine and a snack before going to the dealer welcome night, being held that evening in the restaurant of the same motel.  What a nice idea to have all the dealers get together for dinner before the show.  Dealers love to be fed. 

Tom DeVolpe and me having a glass on another occasion

We stopped in a local depanneur, or convenience store to pick up a bottle of red and some cheese and bread to share with Tom in the room.  This is one of the wonderful things about this region.  Even the smallest local stores have a good selection of wine and cheese, not to mention pates.  We bought a great baguette, and a soft ripened cow cheese from France  called Chaource which we had never encountered but which immediately became one of our favorites.  I remember that it was 40% off because it was quite ripe, but this of course made it even more delicious.  We should have had to pay more because it was perfect.  It could have been that we were just really hungry from setting up and skipping lunch, but that snack of fresh baguette, Chaource, and a few olives  with Tom in the motel room remains one of my favorite all time eating experiences. 

I recall we were a little tipsy walking over to the restaurant for our 7 p.m. seating.  When we arrived we were taken directly upstairs to a private room just large enough to hold the 60 or so people participating in the show. We were all assigned a table and presented with the menu, and a program. A program of all things.  We sat next to our old friend Alan Chauvette who owned a pickers barn near Victoriaville.  It was his first year as well. 

The meal was excellent, and surprisingly we still had a bit of appetite after all that bread and cheese.  The place was soon hopping, and quite noisy with all those ramped up dealers.   Then came desert, and along with it a few friendly greetings and encouragements from the promoters, followed by a sing along.  Yes. I didn’t see that one coming. There in the program were the words and tune to follow for three or four special antique dealers songs.  Everybody now, let’s sing,  “Nous sommes les Antiquaires”  set to the tune  of  “Les Miserable “ or some such thing.  I forget exactly but it was hilarious, and good natured, and friendly, and everybody sang along. 

This was followed by the announcement of who had won the “best booth” award which was a prize of a free ad in a local trade magazine were you could announce your honor I suppose.   Being newbies we had no expectation of winning, and it was no surprise when a local couple won who not only had a beautifully set up booth, but also wore (get this) period costumes.  I looked over to Alan, and said “ah that’s it Alan, next year, –  Costumes!”  We just about fell out of chairs.  The festivities and merriment continued well into the night, but we soon made our good-nights and left to get a good night’s sleep. 

The show was great. People were friendly and interested, and sales were brisk.   Contrary to the fears of our fellow Anglophone dealers we were made to feel most welcome and accepted.  We went back for another four or five years until we changed policy and only did shows close to home.  It’s still going on today but has been moved to a larger facility “La Grillade” where there are 50 dealers in one space.  Well worth a trip to this region, especially in the fall. 

us setting up in Eastman

The last known works by Rosario Gautier

This handsome fellow lives in our living room.  He is a favorite of ours, and we have come to find out that he was made by Rosario Gautier, late of St. Charles de Bourget, Lac St. Jean Quebec,.  We didn’t know who made it when we bought him about 25 years ago,  and it didn’t matter so much because we loved the piece, but it was satisfying to eventually put a name on it.

Over the years we have found and bought several pieces by the same hand.  The chunky, colorful style is unique and easily recognizable, but all we encountered were unsigned, save for a few initialed “RG”.  Not a lot to go on.  Then one day, some picker, I can’t recall who, said ”Oh, yes that’s Rosario Gautier from Lac St. Jean.  He’s been carving for years.   Now at least we had a name and place to ask about.

The next big break  came in Quebec city when walking back late one night to our hotel after a particularly memorable meal and lots of good wine with friends who are lucky enough to live there.  We passed in front of a closed antique shop and there in the street light was a photo in the window of Mr. Gautier, along with several of his pieces, and a short hand written bio.  We were able to find a pen and paper and copy out the bio, and take this slightly blurry picture through the glass.  We were up and out in the morning and never got back there.

Here’s what we were able to record about him that night. “Rosario Gautier was born and lived all his life at St. Charles de Bourget, Lac St. Jean, Quebec.  Father of a large family (12 children of whom 9 are still living), he was a farmer and a blacksmith in logging camps. He started carving after retiring in 1971, and produced a large body of work. Most of his pieces are in the medium size range, but he also produced life sized animals, as well as an eight foot crucifix. The muse de la Civilization du Quebec owns 350 of his pieces, and he is represented in many major collections in Canada and the Unites States.”

By this time we had bought many pieces of his work.  We kept some, and sold most to Quebec collectors.  All the while we love his funky, choppy versions of birds and animals.  All of them rough, and not self-conscious, but also showing a fineness and understanding of form.

We were in the habit those days to try to meet as many folk artists as we could in our travels, but as much as we admired Mr. Gautier’s work and would love to have met him, we were unwilling to make the 3 hour drive north of Quebec city, on spec.  Not even knowing at this point if he was still alive.  I google mapped St. Charles de Bourget just now, and it appears to be a charming little village of 690 souls set on a beautiful northern lake, but it is well on the way to nowhere.  With very few villages en route,  it would mean three hours of looking at trees, and then if we didn’t connect, three more hours of trees coming back.  We didn’t feel like risking it.

We continued to see and buy his work from time to time, then in the mid-nineties we bought the Mongeau collection, and it included about forty small pieces that Mrs. Mongeau described to us as Mr. Gautier’s last works,  which he made just before passing away at the age of 80 in 1994.  I’ve included pictures of some of this work here.  I love the directness of this work, and even though you can see it is not as accomplished as some of his earlier pieces like our 3 ½’ long bull,  it contains a mighty spirit.

I’d still like to make it up that way just to see if I could find that eight foot crucifix.  Even if it turned out to be fruitless, it’s close to Saguenay which from the pictures seems like a pretty interesting place to check out.  I love Quebec.  Quebec J’taime.  Maybe this fall.

Discovering the stash

Most people are happy enough to keep their money in the bank but some folks, be it because they have lived through a time of bank failures, or shortages such as the war; or just because they have a general mistrust of institutions, and prefer to keep their money in their sock:  Or hidden in a cupboard, or buried in the back yard, etc.  People can be very imaginative when it comes to squirreling away money.

We live in Norfolk county, where if you ask around, you will hear lots of stories of lost and found money. This is perhaps due to the large contingent of Belgian, Dutch, and other European farmers who immigrated here to develop the tobacco industry. A lot of these people had experienced unstable financial times. Or maybe it’s the same everywhere.

Friends who bought a local farm decided to wash and put back the existing curtains, only to find that when they opened the washing machine to add softener, the drum was full of curtains and floating money.  The old couple had sewn hundreds of dollars into the hem of the curtains.  They had died without telling anyone.  Thus it was just dumb luck which averted their fortune being thrown into the dumpster.  I know a family that spent weeks digging up the back yard when they realized that dear old dad, before the Alzheimer’s had set in, had been burying money in canning jars back there over the years.   It makes you wonder how much money is swept away and forgotten.  The problem with secrets is that they are quite often buried with their creators.

It was on a late fall trip to the pickers barns in Quebec in the early nineties that I had my brush with dumb luck.  I was solo on a quick two day, there and back run to pick up more stock for the then active Harbourfront Antique market in Toronto.  During this period I would often leave our house at 4 a.m. make the ten hour drive to Victoriaville; then see three or four pickers that afternoon and evening before crashing.  In the morning I would make a few more stops before heading home about noon, which meant I would arrive home  about 2 or 3 a.m. if all went well.

On this particular trip I ran into some particularly nice western furniture at the barn of Alan Chauvette.  It turns out that the rumors were true.  One of the local pickers had family in Manitoba, and in spite of not speaking much English, he had returned home with a huge load of western pieces.  Many interesting  Ukrainian and Dukhobor pieces as well as furniture from early French  settler’s homes.  I bought five or six excellent cupboards, and chests,  feeling happy to have arrived at the right moment to have a crack at it.  I also spent a lot of money. More than I had budgeted.  Jeanine has always kept the books, (thank goodness as I am a disaster), and my method was to simply spend all the money I had, and write a couple of cheques if necessary.  I didn’t keep a running balance, but had an intuitive sense of when to stop.  Well, I threw that sense right out the window this time, for the opportunity to buy some good Western pieces. I knew I was pushing it.  We kept a tight operating budget in those days, so if we didn’t want to dip into savings  a big buying trip meant I really had to have a good Sunday at the market.   I wasn’t sure how, but I knew it would work out.

Phil with Marcel Gosselin

I was feeling pretty satiated when I arrived at picker Marcel Gosselin’s barn about 10 a.m. as a last stop before returning home.  I was still picking up a half dozen stoneware wash sets from him every trip, because they were still popular at the market and he was still finding lots of them. He was also my source for Aime Desmeulle’s folk art, which was selling well at the time.  As I finished filling in the last remaining little spaces in the load with smalls, I was about to write the cheque when Marcel piped in “Are you sure that’s all Phil? I’ll sell you that small cottage chest for $175.  You know you’ll get about $400 for it.”  It was a tidy, little 4 drawer pine cottage chest from Nova Scotia which were very popular at the time.  I looked at my full truck and thought about the cheque book.  “Thanks for the offer Marcel, but look, I don’t have room for it.”  The load was already well above my racks. “ Look there Phil, on the right side of your tailgate.  I can put it on its side and tie it on right up there.”  Sure enough, I could see he was right. “O.K. Marcel, throw it on and give me the total.”

I got home very late, and went straight to bed.    Next morning, going into the kitchen for coffee, there sat Jeanine looking at the cheque book, and looking worried.   “I understand this was a great opportunity, but it’s going to have to be one heck of a good market on Sunday, or we’re going to have to dip into the savings to cover ourselves.”

By the time we got all the wonderful pieces upstairs we were feeling good about it, even if it meant cutting it close.   We still have a wonderful four colour Ukrainian  sideboard from that load that I fell in love with while scraping it down.  We had a good dinner,  and I decided to go upstairs to look over the stuff one more time before hitting the sack.  I was excited by the pieces, but also feeling concerned about so completely blowing the budget. I continued to open the cupboards to inspect the interiors, and  when I finally came to the little pine chest I had bought from Marcel, I opened the top drawer to see how well it travelled in and out. What’s this?   I was amazed to see a small plastic wallet lying there in the middle of the drawer.  How did that get there?  It wasn’t there when I looked at it in Quebec.  Then I remembered that we had put the drawer on it’s side to fit it into the load, and sure enough, when I felt up inside under the top, someone had built a little open shelf up there.  The wallet was full of crisp, old issue Canadian cash.  $1,300 in all.   I couldn’t believe the luck.  I could easily imagine that had I continued to carry it upright I would have sold it  full of cash as it were, and maybe even then it would go into a home upright,  and never be discovered.

Jeanine was having one last coffee before going to bed.  Yes, she can do that. She looked puzzled when I handed her the little wallet.  “ I know you are concerned that I spent so much, and I thought this may help”.  It took her awhile to believe my story, and our good fortune.

When I saw Marcel a week later, he was surprised when I shoved a folded hundred in his shirt pocket.  “What’s this for?”

“Never mind.  Just take it and don’t ask any questions.”

Nova Scotia or bust

One summer, back in the late nineties we decided to take a quick trip eastward combining some antique picking and vacation activities as a fun time together with our daughter Cassandra before she left high school to go to university.  The objective was to have no specific plan, and wander eastward as we saw fit buying along the way, with the ultimate goal of reaching Nova Scotia.  Even if we didn’t have the time on this trip to explore further once we got there. We put about $4,000 in an envelope for purchases, packed out bags and food hamper into a full size cargo van we borrowed from our son Brodie, leaving him our pick-up to use while we were gone.  We were not looking for furniture on this trip, and felt it safer to leave our small sized purchases locked up inside a van at night.  We got a good, early start and made it to our regular stomping grounds around Victoriaville in time to do a quick circuit of the picker’s barns there before settling in for the night at our regular spot, the Motel Marie -Dan in St. Eulalie.  We didn’t buy much, wanting to save our money for buying in the previously untraveled regions to the east.

Day two, after a hearty breakfast we shot down #20 expressway past Quebec city until the village of St. Jean Port Jolie.  This pleasant little village on the banks of the St. Lawrence river is the home of the Bourgault brothers, who founded the “École de sculpture de Saint-Jean-Port-Joli” in 1940 with the support of the Quebec government.  The carvings became very popular with tourists and locals alike, and still today the village is chock a block with wood carvers.  To be honest although we greatly respect this form of carving, we were hoping to find  a unique folk artist more towards the lunatic fringe of the spectrum who might be hanging out there.   We had a great time looking at the museum and several shops but didn’t find what we were looking for.

After a nice lunch we made our way along the coast on the two lane Hwy # 132 past Riviere-du-Loup  as far as Trois Pistoles, a trip which would ordinarily take about an hour, but in our case took over four due to several stops at yard sales, markets, and shops. We hadn’t expected it, but we found a lot of wonderful stuff and by the time we stopped for a coffee in Trois Pistoles the cargo area of the van was almost full, and our envelope was over half empty.  We had a little conference, and thinking of Nova Scotia decided that instead of going further into the Gaspe we would turn back to Riviere-du-Loup, hang a left on Hwy #85 which becomes Hwy#2 as soon as you cross over into New Brunswick  and on a good day with steady driving will get you to Amherst, Nova Scotia in about eight and a half hours.  Our goal was to sleep in New Brunswick.

It was dark and raining by the time we had made our way past the endless forests of this part of Quebec and then we hit the construction.  On a 1 to 10 scale of “hairy” driving this was a solid eight. Pounding rain, mud, and lots of starting and stopping. We white knuckled it for about another hour and finally made it to Grand Falls, New Brunswick.  It was pushing ten o’clock, and we really needed to stop.  Turns out there was a convention in town and we were turned away at every motel, and feeling quite desperate before we got the advice that the only room we could get would be at a bed and breakfast in a recently converted old nunnery a few miles out of town.  We’re not big B and B fans but great.  We’ll take any port in this storm, and after a call ahead to confirm they had a room, we went off with the little hand drawn map we were provided.

The storm grew stronger, and the thunder and lightning more brutal, as we wound our way up into the surrounding hills, until there in a flash of lightning worthy of Alfred Hitchcock, the huge, old, Victorian Gothic Institution appeared, with a giant cross above the entrance;  and we drove up the hill and pulled into a parking space, wondering what we had gotten ourselves in to.

I can’t recall, but I’m sure we were greeted by a perfectly nice night attendant, although in my imagination he was someone akin to Igor.  We were lead down a long, dark, corridor to a pair of rooms which seemed to remain untouched from their former life.  I remember the institutional green walls and old steel beds.  They were small, and basic, but a blessing in our situation.  In bed, with the lights out, and the still frequent flashes of lightning and thunder I began to hear people moaning in the distance. It kinda freaked me out, but I had no desire to investigate.  I put the pillow over my ears and did my best to fall asleep.  It was a long night.

Next morning, we met Cassandra in the canteen, and after coffee and hot chocolate decided to get the heck out of there.  “Did you hear all that moaning” Cassandra said.  “It really freaked me out”.  “  “Me two.”  “Me three” said Jeanine.  We saw the caretaker on the way out, and he explained that it had become a B and B, slash old people’s home, and that some of the old dears were restless.  The place didn’t look all that spooky in the daylight.

In town, we sat in a little mom and pop restaurant, finishing breakfast and discussing our plan.  We had learned that the construction which we had only experienced about an hour of, continued for several more hours ahead as they were making the highway into a divided four lane.  Desperately need by this point especially with all the summer tourists.  We sat there for a while discussing our progress, and what lay ahead.  We were grateful for the use of Brodie’s van, but it was noisy and fairly uncomfortable.  We realized we had a full day of crappy driving ahead just to reach Nova Scotia, and then we would only have a couple of days to look around before heading back.  Then our conversation turned to how much we loved Quebec City, and we could be there by late afternoon if we turned back.  It was an easy decision for us.  We called our favorite, cheap hotel in old Quebec, Le Manoir des Remparts and made a reservation for three nights.   We had a wonderful time, and felt happy and relaxed on the twelve hour drive home.  Resolving to make it to Nova Scotia another time.  Perhaps, looking into air fares.