Spring 2011 Interiors

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vol. 28 no. 3

spring 2011

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by Carter C. Hudgins, Ph.D., Director of Preservation and Education In 1969, a dramatic discovery was made in Charleston in the attic of 25 East Battery, home of the recently deceased Charlotta Drayton. Family members found a leather portfolio containing original watercolors of birds together with a frontispiece with the name John Drayton and the date 1733. At first, the family thought that these watercolors were completed by John Drayton himself. Further research, however, confirmed that they were completed in 1733 by George Edwards (1694 - 1773), the father of British ornithology.

Thanks to the stewardship of seven generations of the Drayton family, these rare works are some of the oldest George Edwards watercolors to survive in North America. The watercolors include extinct birds such as the Carolina Parakeet and the controversial Ivory Billed Woodpecker, along with common American birds and exotic species representing natural history around the globe. As Margaret Pritchard, curator of prints, maps and wallpaper at Colonial Williamsburg has remarked, “The watercolors that George Edwards painted for John Drayton place him among a continued on page 4


Director’s Notes–George W. McDaniel, Ph.D. The mission of Drayton Hall, a historic site of the National Trust for Historic Preservation, is to preserve and interpret Drayton Hall and its environs, in order to educate and inspire people to embrace historic preservation.

Coming home has been a theme that has long resonated for me as the Director of Drayton Hall. For some, Drayton Hall is a familiar place that one visits often; for others, long absences intersperse visits back. Regardless, there is something about this place that draws people again and again. Last fall we welcomed home descendants of the African Americans who once lived and worked here. It was a moving service in which, together, we dedicated the new memorial arch in the 18th-century African-American cemetery, the oldest documented African-American cemetery in the nation still in use. This spring, we’ve celebrated a different type of homecoming, as Drayton Hall welcomed into its collection a group of rare watercolors of birds painted by George Edwards and acquired by John Drayton in 1733 when he was only 18 years old, five years before he purchased the land that was to become Drayton Hall. These watercolors remained in the Drayton family for hundreds of years, and were only recently acquired by Drayton Hall. They provide new insights into the life and times of John Drayton, and help us envisage him as not simply a wealthy Lowcountry planter, but as a scholar who networked with some of the leading intellectuals of the 18th century. I hope you enjoy reading about these watercolors and their long journey “home” in this issue of Interiors. As anyone can attest who has ever visited Drayton Hall, the only home on the property is the main house, a Palladian masterpiece. Indeed, we are quite well known by some visitors as being “a big empty house.” That aside, Drayton Hall is in possession of thousands of archaeological artifacts and a collection of furniture and other objects that includes some of the finest examples of colonial craftsmanship in existence. From our rare Chinese export porcelain to our new collection of George Edwards’s watercolors, we are in the beginning stages of imagining a new home for all of the priceless and rare items that make up our collection. This past winter, the staff and Site Council of Drayton Hall, together with the National Trust, decided to enlist the services of an exceptional team of architects, landscape architects, and site planners in order to develop a site plan and schematic drawings for new facilities, which will include a visitors’ learning center. Phase One of the project will be led by James Cothran and Andrew Kohr of Robert and Company of Atlanta. Phase Two will be conducted by architect Jim Thomas of Thomas and Denzinger Architects, Charleston, landscape architect Sheila Wertimer of Wertimer and Associates, Charleston, and Michael Van Valkenburg of Michael Van Valkenburg and Associates, Cambridge, MA. Not only are they gifted in design, but they are highly sensitive to the character of a “place” and will be guided by our preservation philosophy. Unobtrusive from the main house and tactfully screened by landscaping, the center may possibly include a multi-purpose room for public lectures and programs, a new museum shop, lab space for our archaeologist and preservation technicians, as well as an innovative, engaging museum and exhibit space so that the public can finally experience the depth and fullness of the complete Drayton Hall experience. Indeed, George Edwards’s birds, which have finally come home to Drayton Hall, will have a place that befits their status as one of the most important groups in our collection. As we move into this exciting and transitional time, we hope that you’ll come visit us here at Drayton Hall. Despite the many changes that have occurred over the last few centuries, and the major changes that lie ahead, the things that remain constant are what brings visitors back year after year. We hope this spring you’ll come “home” to Drayton Hall— to experience what’s new and what remains the same. cover photo: Drawing of a Little Owl, c. 1733, George Edwards 1694-1773. Watercolor and ink on laid paper, 10 1/5 x 8 4/5 inches. Courtesy of Drayton Hall, a historic site of the National Trust for Historic Preservation.

Drayton Hall Site Council Anthony Wood, chairman Elizabeth Alston, Mary Ravenel Black, Lonnie Bunch, Mimi Cathcart, Edward Crawford, Dr. Elise DavisMcFarland, Jane deButts (emeritus), Chad Drayton, Charles Drayton (emeritus), Frank Drayton, W. Eric Emerson, Carl Gable, Phil Gaines, Stephen F. Gates, Douglas Lee, Benjamin Lenhardt, Sandy Logan, Peter McGee (emeritus), Hampton Morris, Monty Osteen, Duane Parrish, Suzanne Pollak, Michael Prevost, Connie Wyrick (emeritus) Executive Director George W. McDaniel

interiors staff Kristine Morris, editor Natalie Baker, graphic designer Robert A. Johnson, volunteer proofreader

spring 2011 edition - contributors George McDaniel, Ph.D, Executive Director - Page 2, “Director’s Notes - Coming Home to Drayton Hall”

Carter C. Hudgins, Ph.D, Director of Preservation & Education - Cover article, “The Tale of a Planter and His Paintings” Rikki Davenport, Curator of Education - Page 6, “Drayton Hall Commemorates the Civil War”

Trish Lowe Smith, Preservation Technician - Page 6, “Moss, and Fungus, and Lichens, Oh My - Addressing Bio Growth at Drayton Hall” Courtney Bates, Development Coordinator - Page 7, “An Inspirational Friendship”

quotes: “I love this place. Such an interesting piece of history. Yea for preservation!” “I appreciate all your beautiful work on Drayton Hall.” “If you are interested in true, grand old American homes, this is one to visit and imagine what it was like in its heyday...”

3380 Ashley River Road, Charleston SC 29414 Phone: 843-769-2600 Fax: 843-766-0878 www.draytonhall.org dhmail@draytonhall.org


New York City, January 2011 “Grandeur Preserved: Master works Presented by Historic Charleston Foundation”

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rayton Hall is proud to have been part of the loan exhibit presented by the Historic Charleston Foundation at the 2011 Winter Antiques Show—the most prestigious antiques show in America featuring “the best of the best” from antiquities through the 1960s. On exhibit was an original 1765 watercolor of Drayton Hall along with four 18thcentury watercolors by George Edwards (read more about our collection in this issue’s cover story) and a rare Chinese export porcelain plate.

left: Plate, Chinese export porcelain, Qing dynasty,Qianlong period (1736–1795). Part of a twelve-piece set originally associated with ownership by John Drayton in the mideighteenth century. Famille rose pattern. Overglazed polychrome floral designs with gilding. Flat plate with raised shoulder and cylindrical foot rim: Diam. 8 7/8 in.; foot rim diam. 4 7/8, H. 1 in. Donation of Anne Drayton Nelson. above: At the 2011 Winter Antiques Show. Standing L-R under Drayton Hall’s “mystery” watercolor: George McDaniel, Drayton Hall; Johanna McBrien, editor-in chief, Art & Antiques magazine; Jim Lockard, owner of the watercolor; and John S. Smiroldo, publisher and founder, Art & Antiques. left: Standing between George McDaniel (L) and Carter C. Hudgins (far R) both of Drayton Hall are Friends of Drayton Hall (L-R) Patricia Roberts, Sarah Donnem, and Gail Morrill.

“Drayton Hall’s participation was truly a once in a lifetime opportunity for any historic site, and this was especially true for Drayton Hall. For the first time ever, portions of Drayton Hall’s collections were publicly exhibited and visitors to the show had a unique opportunity to examine some of the objects which illustrate John Drayton’s close connections to England and the wider Atlantic World.” – Carter C. Hudgins, Director of Preservation & Education, Drayton Hall

Read more about it on our blog at: http://draytonhall.wordpress.com/2011/01/20/ a-grand-tour-charleston-magazine-and-the-winter-antiques-show/

(top): Drayton Hall S.C. 1765 by Pierre Eugene Du Simitiere (c.1736-1784). Watercolor 8 3/8” by 12 ½”. Private collection; courtesy of the owner.

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very elite group of Americans participating in the transatlantic exchange of information relating to the natural world. Their survival has also significantly contributed to our understanding of the working relationship between two of the most important naturalists of the period, Mark Catesby and George Edwards.” This collection of George Edwards watercolors possesses a unique opportunity to connect the present to the past, and illuminates stories of people, places, events, and ideas. They serve as windows into the intellectual pursuits of their owner, and reveal the 18th-century connections between the South Carolina Lowcountry and elite members of British intellectual society. Today, Drayton Hall is fortunate that John Drayton’s assemblage of George Edwards watercolors has survived until the present, as such works provide information about our colonial past that has otherwise been lost to time. John Drayton was born to Thomas and Ann Drayton at the family’s Magnolia plantation in 1715. As the youngest of three sons, John did not stand to inherit his family’s plantation, and therefore purchased the neighboring 350 acres, where he began construction of Drayton Hall. Referenced in the 1750s as Drayton’s “Palace and Gardens,” Drayton Hall is regarded today as one of our nation’s most significant colonial buildings. Constructed between 1738 and 1742 as the home seat of John Drayton, the house and its flanker buildings are North America’s earliest example of fully executed Palladian architecture. While Drayton’s “Palace” has survived to the present in a remarkable state of preservation, very little documentary material exists about John Drayton, and questions regarding his life abound. Fortunately, in the last five years increased research of Drayton Hall’s surviving material culture has begun to uncover a remarkable set of details about Drayton, his role in the Carolina colony, and his intimate connections to British society. Amongst Drayton Hall’s surviving architecture, furniture, and archaeological artifacts, John Drayton’s collection of ornithological watercolors is a particularly rich source of information about the man himself. To understand the full importance of the watercolors, an understanding of the artist is requisite. George Edwards was born in Stratford, Essex, to a middle-class family. Following his early schooling and a seven-year apprenticeship in business, Edwards left England for mainland Europe where he traveled extensively and became an expert in drawing natural history

watercolor grouping, clockwise from upper left:

Drawing of a Carolina Parrot, c. 1733, George Edwards 1694-1773. Watercolor and ink on laid paper, 10 1/2 x 8 3/4 inches. Drawing of a White-Throated Toucan, c. 1733, George Edwards 1694-1773. Watercolor and ink on laid paper, 10 3/4 x 8 3/4 inches. Drawing of an Indigo Bunting, c. 1733, George Edwards 1694-1773. Watercolor and ink on laid paper, 10 1/2 x 8 3/4 inches. Drawing of a Pygmy Kingfisher, c. 1733, George Edwards 1694-1773. Watercolor and ink on laid paper, 9 3/5 x 8 2/5 inches.

specimens. Such works were highly desired by wealthy collectors, such as Sir Hans Sloane, the president of the Royal Society and the Royal College of Physicians. Sloane quickly became Edwards’s most significant patron and appointed him as the Bedell of the College of Physicians in 1733. His first publication, entitled A Natural History of Uncommon Birds, was printed in four volumes between 1743 and 1751, and the three volumes of his subsequent work, Gleanings of Natural History, were published in 1758, 1760, and 1764. In total, Edwards produced seven volumes containing 362 etchings and comprehensive descriptions detailing recently identified natural specimens collected from the expanding British Empire. Prior to publishing his engraved works, Edwards completed watercolors during the process of studying natural history specimens. A collection of 48 Edwards watercolors were acquired by the 18-year-old planter John Drayton in 1733. Such works, completed ten years before the published etchings of the artist, are some of the oldest of their type to survive in North America. Indeed, one of the only comparable assemblages exists as part of Sir Hans Sloane’s collection in the British Library.

4 watercolors: Courtesy of Drayton Hall, a historic site of the National Trust for Historic Preservation.


left: Drawing of a Red Winged Blackbird, c. 1733, George Edwards (1694-1773). Watercolor and ink on laid paper, 10 1/5 x 8 3/4 inches. Courtesy of Drayton Hall, a historic site of the National Trust for Historic Preservation.

Essential to the production of Edwards’s published works was monetary support gained through subscriptions to each of his volumes. As listed at the beginning of each volume, a number of aristocrats, political officials, and prominent

Drayton Hall constantly seeks to answer the question, “Who is John Drayton?”, and this remarkable collection of

On March 31, 2011, Drayton Hall opened its doors for the first time in over three decades to host a private dinner party on the first floor of the main house, the iconic centerpiece to the earliest example of fully executed Palladian architecture in the nation. Director of Preservation and Education Carter C. Hudgins supervised months of planning and preparation to ensure that the structure, circa 1738, would be protected in every possible way.

above: George Edwards (1694–1773), the father of British Ornithology. “Gleanings of Natural History,” Royal College of Physicians, 1758. Engraving after Bartholomew Dandridge by J.S. Miller.

watercolors has opened up new worlds of understanding as we seek more clues to fully understand the life of this rather enigmatic figure. As our permanent collection expands, we hope to welcome home more pieces of Drayton Hall’s past in order to fully answer questions that have remained obscured by history.

photo by taylor stewart

In addition to their age and rarity, such watercolors are significant as they demonstrate a close connection between Drayton and Edwards, and a clear association linking Drayton to the European intellectual community of the 18th century.

intellectuals, such as Carl Linnaeus, Lord Burlington, Hans Sloane, and Mark Catesby made contributions to Edwards. Significantly, John Drayton was the only North American subscriber to Edwards’s first volume of A Natural History of Uncommon Birds in 1743. Just 17 years later, Drayton subscribed to Edwards’s Gleanings of Natural History, as did two additional Americans: botanist William Bartram and Benjamin Franklin of Philadelphia. Together, John Drayton’s collection of Edwards watercolors and his subsequent subscription to Edwards’s engraved works place Drayton within an elite network of 18th-century intellectuals. Such an association extends beyond a reflection of wealth to represent Drayton’s keen awareness of British intellectual style and associated scientific efforts to classify and profit from wildlife identified within the expanding British Empire.

Invited guests for this very special occasion were some of Drayton Hall’s most important benefactors, the Society of 1738. Society members are Friends who give at the highest giving level and have shown a sustained commitment to Drayton Hall over many years. The guests of honor, however, were not the Society members, but 12 watercolors by famed British ornithologist George Edwards that were once owned by John Drayton (1715 1779) and recently acquired by Drayton Hall. The evening began with classical music and cocktails in the raised English basement, then guests moved upstairs to view the Edwards watercolors on private exhibit. Afterwards, a spectacular, three-course dinner was served in the main hall and adjoining rooms where music, laughter, and conversation flowed. Guests described the evening as “magical” and “unforgettable.” Given the extraordinary precautions that had to be taken, this was truly a once-in-a-lifetime event that Drayton Hall will likely not repeat anytime soon. Importantly, the evening also marked the launch of a major gifts initiative that will repay the substantial costs associated with the acquisition and conservation of the George Edwards watercolors. Our thanks to all those who continue to support our efforts to bring the collection home to Drayton Hall.

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figure 1: Shows the river front stairs. For comparison, the left side has been treated and the right side has not.

figure 2: Close-up view shows the limestone lintel before and after treatment to remove biological growth.

enough, they represent a serious threat to the integrity of the masonry surfaces they cover.

Addressing Bio Growth at Drayton Hall by trish lowe smith, preservation technician Drayton Hall is so much more than just a historic house; for generations, members of the Drayton family called it home, and like so many homes this time of year, Drayton Hall is getting a little spring cleaning. The interior of the house is cleaned regularly, and the exterior gets a scrub now and then when the windows get a little hazy or the portico needs to be swept. However, our preservationists are currently working on a cleaning project that is a little out of the ordinary. The target of this cleaning project is not dust or dirt but, rather, biological growth. Over the years, the masonry surfaces at Drayton Hall have become hosts to moss and fungi. If you look closely you can see that little patches of green, white, and black dot the surface of the main house. While these areas of biological growth may seem harmless

Biological growth can degrade masonry surfaces in a variety of ways. The main issue of concern is the presence of moss and fungus in mortar joints. This kind of biological growth creates the perfect substrate in which higher order plants with more destructive root systems can gain a foothold. As plants grow and their roots push against the mortar, they exert tremendous force. Eventually, the mortar is totally compromised, and the roots penetrate further into the wall. It is at this stage that we begin to worry about the chemical reactions set in place by the biological growth. Roots carry water and dangerous salts into the wall, where they wreak havoc on the structural integrity of the surrounding masonry units. To address this issue, our preservationists are using a mild eco-friendly solution approved for use on historic masonry, natural bristle brushes, and good old-fashioned elbow grease to scrub the bio-growth off of the house. Dental tools are also used to carefully clean out mortar joints that have been invaded by moss. The process of removing biological growth from the house can be painstaking, but it is truly vital for the preservation of Drayton Hall.

by rikki davenport, curator of education April 2011 marked the Sesquicentennial of the beginning of the American Civil War. Charleston, South Carolina—where the first shots of the war rang out across the harbor—was the destination for thousands of teachers, historians, and Civil War enthusiasts who took part in the numerous activities commemorating the event. Drayton Hall, the only plantation house on the Ashley River to survive the war intact, offered special Civil War focused house tours each weekend in April to visitors wanting to learn more about the role of Drayton Hall, the Drayton family, and the enslaved who lived and worked on the property. Visitors heard the Drayton family story of how the house survived the war, the story of two Drayton brothers who fought each other at the Battle of Port Royal, and of Henry, an enslaved man who left Charleston and joined the Union Army. For those of you who want to learn more, but missed the April tours, visit anytime and request that your guide include some of the stories of our Civil War history or call (843) 769-2630 to book a private tour. 66

above: Post-Civil War landfront view; note the damaged portico pediment, broken windows, and heavy vegetation growing near the house.


by courtney bates, development coordinator

by wayne clawson

In conjunction with Drayton Hall’s 2010 year-end appeal we asked Drayton Hall staff, Site Council members, and volunteers what inspires them the most about Drayton Hall. Their responses were recorded and posted on YouTube and Facebook. We then turned the question around and asked you, our Friends, to share what inspires you about Drayton Hall. Throughout the winter we were inundated with Friends longing to share their memories, stories, and feelings about the importance of Drayton Hall in their lives. Some talked about how Drayton Hall represents a deep connection to the past, whether that be a personal or national past. Many voiced their belief in the importance of preserving our national heritage. Frequently, Friends talked of the beauty and serenity they find at Drayton Hall during their visits. And most often, Friends stressed the importance of ensuring that Drayton Hall continues to be accessible for future generations.

Drayton Hall is blessed with a considerable contingent of annual donors. During their lives the gifts of these donors enable Drayton Hall to not only maintain a level of service to current visitors and expand the research related to one of the nation’s priceless historic sites, but to keep the doors open and the lights on as well!

In addition to the inspirational responses from our Friends across the globe, Drayton Hall’s 2010 year-end appeal was our most successful campaign to date. Thanks to your generosity, we raised just under $39,000. That is $12,000 more than our goal of $27,000! Funds from this appeal will go toward a structural analysis of Drayton Hall’s portico, the continued protection of the noble oaks across the landscape, and improving our public tour programs. In view of such dedication and passion, what inspires me the most about Drayton Hall is you, our Friends. Thank you for your generosity and support, year in and year out, and for making our 2010 year-end appeal such a wonderful success. It’s not too late to share your thoughts about Drayton Hall! Visit our Facebook page to tell us what inspires you.

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hank you, Friends, for answering our recent survey. Your feedback will help us improve our members program, so please continue to let us know what we’re doing right and what we could improve upon. “The opportunity to participate in the preservation of such historical properties through membership...and...such wonderful added-value opportunities.” “I never minded that Drayton Hall didn’t have any furniture or decoration. I love it so much it’s hard to put into words.” “Highly support your efforts to preserve vs. restore.” “I was surprised to get a hard copy of your “Interiors” magazine in the mail late last month—it’s so exciting!”

In addition to the wonderful cohort of annual donors, the site is fortunate to receive funds each year from major gift donors. The size of these donors’ gifts allows for noteworthy, rather than incremental, progress with special projects or urgent needs. Drayton’s future could be enhanced significantly through the emergence of a new type of donor: the “forever” donor. If the gifts of current donors could be invested to grow indefinitely, Drayton Hall’s future would be greatly enhanced. Regrettably, donors are not immortal; however, their giving capacity may be! A stroke of a donor’s pen can help to ensure the preservation of Drayton Hall in perpetuity and lead to the unraveling of the many secrets of the past still contained within its walls and grounds. A forever donor—or Forever Friend—comes into being each time a new donor, annual donor, or major donor establishes an endowment fund. Endowments do live forever as yearly earnings accrue to Drayton Hall. Endowments can easily be created via a simple provision in one’s will. Although planned gifts often look like major gifts, in the context of one’s entire estate such gifts often will not unduly infringe upon resources intended for individual heirs. In fact, family members are often delighted to know that an endowment in the donor’s name will provide resources for the preservation and study of a national treasure— forever! If you would like to discuss how you can become a Forever Friend, please contact Courtney Bates at 843-769-2612.

Wayne Clawson retired as Associate Vice Chancellor for Development from Appalachian State University in 2004. He proposed and began the planned giving program at the school, and was a founding member of the North Carolina Planned Giving Council. During Clawson’s twelve-year tenure on the Council’s Board of Directors, he held every executive position, including President. 7


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Archaeological Excavations June 20 - July 29 Monday through Friday Visit the site during our next big dig and watch as excavations attempt to answer research questions that will help to expand our historical understanding of the Drayton Hall property. The excavation area encompasses the projected path of the colonnade walls depicted in the 1765 watercolor painting of Drayton Hall and the possible location of more of the pre-Drayton building foundation that was discovered in the fall of 2008. Please visit our website for more information.

Colonial Carolina Camp July 18 - 22, Monday through Friday 9:00am to Noon

Junior Archaeological Institute July 25-29, Monday through Friday, 9:00am to Noon

Recommended for children ages 5 - 11

Recommended for older children, ages 12 - 17

Young camper-historians will explore the grounds of Drayton Hall and experience life during the colonial era. Dying cloth, making colonial toys, and learning how to build a colonial house will be fun and educational. $135 per child per week for non-members; $115 for Friends of Drayton Hall.

This camp is a must for anyone interested in history and archaeology. Campers will learn to survey and map a site, participate in a real excavation, and identify and preserve artifacts. $150 per child per week for non-members; $130 per child for Friends of Drayton Hall.

Both camps include healthy snacks plus all supplies to participate in crafts and other activities. For additional information, please contact Rikki Davenport at (843) 769-2607 or rikki_davenport@draytonhall.org, or visit the website at www.draytonhall.org.


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