#guillot

[chic-a-gigot]

L'Art et la mode, no. 12, vol. 38, 24 mars 1917, Paris. Premiers beaux jours. Dessin de Guillot. Bibliothèque nationale de France

Robe en Djersabure "gris acier", avec garniture de même tissu "marine". Large col, poches à revers et bas de jupe surtachés en "marine". La robe ferme sur le devant par des boutons gris, cerclés "argent". Manches amples tenues dans un poignet soutaché Chapeau de feutre gris, cravaté de bleu.

Dress in "steel gray" Djersabure, trimmed with matching "navy" fabric. Features a wide collar, flap pockets, and a skirt hem topstitched in "navy." The dress fastens down the front with gray buttons encircled in "silver." The sleeves are full, gathered into soutache-trimmed cuffs. Worn with a gray felt hat tied with a blue ribbon.

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Robe en cotti-cotta "vert russe". Jupe froncée, avec plis sur le devant et garnie, dans le bas de trois rangs de ganse assortie. Charmante veste pansée à l'encolure et à la fermeture. Petits boutons de velours vert. Chapeau en satin tendu, garni de velours Florentin vert.

Dress in "Russian green" cotti-cotta. Gathered skirt, featuring front pleats and trimmed at the hem with three rows of matching braid. Charming jacket, shaped with curved seams at the neckline and closure. Small green velvet buttons. Hat in taut satin, trimmed with green Florentine velvet.

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Robe en Drapella "Suède clair". L'ampleur de la jupe est légèrement maintenue dans une haute bande de même tissu avec garniture de piqûres. Poches garnies de deux volants. Fermeture sur le devant, avec petits boutons d'écaille. Cravate en côte de Verdun autour du col. Chapeau assorti.

Dress in "Light Suede" Drapella. The fullness of the skirt is gently gathered into a deep band of the same fabric, finished with decorative stitching. The pockets are trimmed with two ruffles. Front closure featuring small tortoise-shell buttons. A "Côte de Verdun" tie encircles the collar. Matching hat.

[blondebrainpowered]

Satire of a newly invented steam machine for flogging, with a young boy on one side with Mr Croquemitame, and a girl on the other with Mme Briquabrac. November, 1816

Hand-coloured etching by Guillot

[twistingtreeancestry]

Day of Commemoration for the Acadian Expulsion

Pictured above is my 3rd great-uncle Ovillier Guillot and his family. He is the 4th great-grandson of Jean Baptiste Guillot.

Today is the Day of Commemoration for the Acadian Expulsion.

While I have quite a few direct ancestors who lived in Nova Scotia and ended up in France at the time of the expulsion, there's only one family unit that I have been able to confirm was expelled.

That was the family of my 8th great-grandfather Jean Baptiste Guillot, born in Acadia in 1720 with his body given to the Atlantic Ocean in 1758. His family was expelled from Cobequid, Acadia, Nova Scotia to France during the brutal "Great Expulsion" by the British, who wanted to squelch any potential threats from the Acadians and the Mi'kmaq during the French and Indian War.

His son (my 7th great-grandfather) Charles Olivier Miquel Guillot was only 13 in 1758 when they had to take the long, arduous 75-day journey to France. His father Jean, along with 4 of his brothers, never made it off of the ship.

Charles grew up in France where he married and had 3 children of his own. They left France in 1785 to board one of the seven ships paid for by Spain, Le Saint-Rémi, to take them to Lafourche Parish, Louisiana.

Many members of the Wabanaki Confederacy (I believe predominately it was the Mi'kmaq militia), in addition to other affiliated Indigenous tribes and Acadians, who rallied a resistance were slaughtered or expelled. They refused to swear loyalty to the British crown and surrender to British colonists, refused to convert from Catholicism to Protestantism, and refused to allow themselves to be displaced without a fight. Numerous battles took place to stop the deportation with wins and losses across the board.

While no one has one lineage, I was raised as a proud Cajun despite having often felt ashamed of being Cajun for various reasons (like my accent). I even tried my hardest over twelve years to banish anything that could link me to my roots, not knowing the history behind a part of my ethnicity and culture.

Digging into my ancestry has been a wild ride, and there were many things found within my lineages that were not honorable in any way, but this chunk of my history? This has made me proud to be Cajun again.

I wish I had respected it more when I was still able to be immersed in it. I wish I had asked my pawpaw to tell me more stories. I wish I had kept up with Cajun French (AKA Louisiana French). I wish I hadn't let my cultural heritage fall through my fingers.

Many blessings to those who fought and lost their lives against the British colonists in an attempt to secure the freedom of not only themselves but of future generations to come.

[Disclaimer: I am still only beginning to educate myself about this event and am utilizing my current understanding of how events unfolded and who was involved. I apologize in advance for any misconceptions or misinformation regarding the historical accuracy of my comments.]

[axelmedellin]

Daily drawing 2 july 2022

I want to make more comics.

From today on, on the days with enough time and muse, I will be making a panel of... something. Maybe it will eventually make sense, but if not, well, consider it a (hopefully) daily random scene from somewhere inside my mind.

[iconstufss]

arunya guillot icons

like if u save

credits on twitter; @/theodorefinchk

[lvx-mvndi]

Me parece que todos experimentamos alguna vez una irresistible necesidad de confiarnos a alguien, aunque en el fondo, poco nos importe saber si seremos creídos o no.

Víctor Juan Guillot, Un bandido.

[lvx-mvndi]

Porque le puedo asegurar, señor, que ni en el infierno, suponiendo que haya efectivamente otros infiernos, se junta tanto rencor como entre los que ven pasar los días desde las celdas y los patios de un presidio. Allí todo se transforma en odio. El odio es la única fortuna que capitaliza un penado.

Víctor Juan Guillot, Un bandido.

[detournementsmineurs]

"Lait Pur de la Vingeanne Stérilisé" lithographie de Théophile Alexandre Steinlen (1894) au-dessus d'une "Boîte Chocolat Klaus" d'après Leonetto Cappiello (circa 1905) et d'"Eventails Publicitaires" anonymes (circa 1905) à l'exposition “L'Art est dans la Rue” du Musée d'Orsay à Paris, juin 2025.