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Front view of the Williams farm house.

"Farm home owned by Frank and Mima Ritchie. This picture was taken during the 1930's by their son-in-law, Reginald Coker. The farm was owned by the Ritchie family and was worked and operated as a dairy farm first by father Frank Ritchie, and then by his son Milton Ritchie. The farm consisited of 188 acres of land and during the Ritchie era was worked mainly with horses. In 1954, the farm was sold by Milton Ritchie to Elmer Stong. The house was built by Davis Stoddart in 1879. Off the main hall there was an oak circular staircase with an oak banister, which was fun to slide down on in the morning for us kids. There were approximately twenty-five rooms in the home with twelve foot ceilings. It was heated with wood and at time coal, but needless to say, in the real winter of yester year, one always wore sweaters indoors. Window shutters kept it cool in the hot summer months. Inside plumbing was not part of the home during the Ritchie era. The floors of the home were maple. The parlour hosted many events from Saturday night dances to weddings, wakes and funerals. Located off the main upstairs hall, stained glass double doors opened to a balcony overlooking the flower gardens adorning the front exposure. Many garden parties were held in the gardens during June, July and August. Sadly, the buildings fell into disarray after Mr. Stong sold the farmland to developers in 1971. The dairy barn built by Frank Ritchie in 1918 burned in the early 1980's and the house was allowed to deteriorate until it became only the shadow of what it had once been, which is now portrayed in some paintings. Mercifully, it was finally put to rest a few short years ago and another chapter of Bradford West Gwillimbury history became a distant memory." Written by their grandson, Alan Ritchie.

Description : See "Davis Stoddart / Frank Ritchie farm house" for more information on the home.

Contains articles and clippings related to the buildings and architecture of Bradford West Gwillimbury, from F-L

"The Pines" a few years later. It is still well maintained.

"Masons, carpenters and painters have been for some time and are still at work at Algonquin Lodge, and "vaster than has been" are the improvements that are being made. This property was lately purchased from the Estate of the late Rev. E.R. Young by Mr. samuel Lukes, who contemplates making many changes to this already handsome structure, besides installing a hot water heating system, sceptic tank, etc."

"Whatever becomes of this grand old lady, her colourful history will not be soon forgotten.

When the Recreation Facilities Committee was formed consisting of Chairperson Ann Currie, Jim Culbert, Steve Boland, Ellen MacKenzey, Bill Germayne and Sharon Sinclair, Director of Parks and Recreation, one of their first commitments was to find the "ideal" location to house the new Recreation and Cultural Complex. After a considerable amount of investigative work and discussion by this Committee, the favorite choice was the old convent.

While the convent certainly fits the "centralized" location criteria, an added attraction is the history which surrounds this 112-year old structure.

In 1876, John MacLean Stevenson built this masterpiece (named Masonic Lodge) and lived in it a short 10 months before selling it to the Robert Bingham family. This family stay was a little longer (16 years) before it, once again, changed hands. In 1893, James Boddy became the proud owner and renamed the house "Fairview". He resided there until 1903 when the property was purchased by Rev. Egerton Ryerson Young (noted missionary and publisher) who again renamed the house this time she was labeled "Algonquin Lodge". Upon the death of Rev. Young in 1910, his family sold the house to Sam Lukes who ran the Bradford Flour Mill. Lukes pet name for the home was "Luxalean". The house stayed in the Lukes family until Gilbert Lukes sold it in 1949. At the time of this sale, the plot of land was divided in two; on the plot south of the house was built St. Mary's Catholic School. The house was occupied by a group of teaching nuns of the Ursuline Order of the Diocese of London in Ontario.

In 1969, John and Maria Moniz bought the stately mansion and turned it into an apartment house. Contrary to the zoning by-laws, Town Council closed their eyes and allowed this grand home to be a multiple family dwelling for 12 years.

From the moment John Moniz' sale was accepted by Fred Picavet's cash offer, which in turn, nullified the offer made by the Town's agent, the convent had been cloaked in a shroud of controversy.

No sooner had the new deed owners, Fred and Betty Lou Picavet begun the extensive renovation work to the upstairs wings, than Bradford town council issued a "stop work order" and filed a Lis Pendents with the County Courts in Barrie (Feb. 26, 1981). This order was subsequently honoured by the County Court Office which necessitated an immediate halt on the renovation work by Picavet. While workmanship was in "pending", taxes continued to be paid by the owner (Picavet).

It wasn't until 1987 when an out-of-court settlement was reached between Fred Picavet and the Town that the convent became the legal property of the town of Bradford.

While the "legal hagglings" were underway, the old convent sat empty for five consecutive winters. Pampering can oft times help to slow down the natural aging process. Unfortunately, pampering the convent during that turbulent time was not a top priority item; henceforth, the building was vandalized on a fairly regular basis.

For someone like Jim Culbert, "the furniture doctor", it was nothing less than a mortal sin that such a fine building should have been so readily accessible to vandals. At the time Jim, personally, approached Town Council and Pat Storey to see if the building could be boarded up to discourage further destruction. He was basically told that the Safety Standards Bylaw which was in place to deal with this situation was unable to be looked after due to the lack of a by-law enforcement officer.

Incensed by that line of reasoning, Jim decided to "go to bat" for the convent. Through public awareness and letters to various newspapers, the convent was eventually boarded up which helped to minimize the continued vandalism.

With the endorsement of the Master Plan Recreation Study and the Facilities Committee, to renovate a part of the convent for the new Recreation and Cultural Complex, Jim Culbert is, once again, appealing to the town's people to "get on board" with regard to bringing this matter to the forefront. The decision on the fate of the convent has "gone on far too long" in Culbert's opinion. "Let's get it resolved one way or the other, either tear it down or renovate it and make it into a beautiful piece of property."

As Jim recalls, "A year ago Town Council promised a public meeting to discuss the convent issue which was never carried out. Hopefully, the newly-elected Council will stick to their electoral views on this issue."

A building with such Italianate design is rare in today's society. By restoring it, a two-fold purpose will be served; firstly, it will provide a complex to house programs such as the arts, drama, brownies, cubs, moms and tots etc. Secondly, and ideally, a room in the old wing of the house will be set aside for a "museum" of sorts to provide past history on the convent and Bradford itself".

IF RESTORED, this spectacular mansion will serve as a memorial to the previous owners."

Article on the construction of George Stoddart's residence

Article on the construction of George Stoddart's residence

The Stoddart House is located at 250 Barrie Street. It was built around 1870 in the Eclectic Neoclassical style. Some of the early settlers in the Bradford area were members of the Stoddard/Stoddart family. John Stoddard settled along the Bond Head Road in 1829. In later times, Major George W. Stoddart was the reeve of Bradford.
The two-storey building has a rectangular form and a centre hall plan. There is a symmetry in the large window openings (with high floor to ceiling heights). The double-hung windows with painted-wood lug sills are also neoclassical features. The medium-pitched, hip roof, wrap-around porch (with original turned wood post supports), and remaining wood brackets and decorative trim are Regency Revival features. A projecting, bay window at the ground-floor living (or dining) room is a Gothic Revival feature. The house has solid, brick construction and a stone foundation. According to the 2000 inventory, the metal screen door at the entrance is unsympathetic to the original design. It was also notes that the porch needed repair. (1, 3)