Historic New England Summer 2024

HISTORIC new england

historic NEw england

From the Chair

Summer at Historic New England means our museums, landscapes, and farms are arguably at their finest. Stroll the grounds of Hamilton House along the banks of the Salmon Falls River in Maine, shop the farmer’s market at Casey Farm in Rhode Island, or marvel at the impeccably designed Beauport, the Sleeper-McCann House, in Massachusetts, and you’ll see what we mean. All thirty-eight of our exceptional properties are officially open for the season on June 1 and we welcome you to explore the beauty of each site. Begin to plan your adventure now with the beautifully-rendered Passport Ready maps of each New England state featured in this issue, and experience all Historic New England has to offer this season.

Each edition of the magazine can contain only a small snapshot of the incredible work happening across the organization, but we hope the following stories inspire you to delve deeper. In June we anticipate the opening of The Importance of Being Furnished: Four Bachelors at Home, our newest exhibition at the Eustis Estate. Guest curator Tripp Evans shares a preview of several objects featured in the exhibition, along with their fascinating histories. Learn how researchers use our vast and varied costume collection to learn more about the lives of those who made and wore these garments, and how they are used to make accurate reproductions. Every object has a story we can learn from, including the Historic New England costume collection. Catch up on the latest news from Haverhill, Massachusetts, where our plans to create a global cultural destination in the heart of New England are progressing in exciting ways. Meet our brilliant scholars whose groundbreaking research is helping us tell more inclusive and authentic stories across our sites. Learn how Historic New England is leading the way in protecting private properties through our Preservation Easement Program.

Whether it’s on a tour, at an event, or simply spending time enjoying our intoxicating landscapes, we invite you to join us this summer and be a part of the vibrant future on the horizon at Historic New England.

With gratitude,

Deborah Allinson Chair, Board of Trustees

Interested in writing for Historic New England magazine? We publish general interest articles on the diverse histories of our region and on contemporary preservation challenges. Find our pitch guidelines at HistoricNewEngland.org/Magazine.

HISTORIC NEW ENGLAND magazine is a benefit of membership. To become a member, visit HistoricNewEngland.org or call 617-994-5910. Comments? Email Magazine@HistoricNewEngland.org. Historic New England is funded in part by Mass Cultural Council.

President and CEO: Vin Cipolla Executive Editor: Laura Sullivan Editor: Tracy Neumann

Associate Editor: Lorna Condon Editorial Board: Genevieve Burgett, Alissa Butler, Peter Gittleman, Erica Lome, and Jennifer Robinson Design: Julie Kelly Design

Cover Photo montage of Historic New England sites and events. Join us for the 2024 open season!

Custom House Wharf in Portland, Maine. Photograph by iStock.com/Desha Utsick.

All Aboard

to Portland, Maine

by MEGAN REEL Preservation Programs Coordinator

The best convenings challenge us to think in new ways, see problems from different perspectives, and prioritize collaboration to develop innovative solutions. The Historic New England Summit, now in its third year, embodies this spirit by bringing together interdisciplinary expertise to explore some of the most urgent problems facing communities. The Summit takes a broad view of preservation, considering the many ways preservation intersects with and impacts quality of life. Over the last two years, it has tackled topics as simultaneously

varied and integrally linked as climate change, housing, placemaking, education, accessibility, and inclusion, all united by a single goal of creating the most resilient and equitable versions of the places that we call home. This year on November 14 and 15, the Summit heads to Portland, Maine, where New England’s preservation community will once again gather to examine contemporary challenges with regional, national, and international implications.

Portland is an ideal destination for the 2024 Summit. This year’s Summit program promises to look

even more deeply at the ways diverse experiences from across fields such as historic preservation, planning, museum studies, arts and culture, architecture, and public history can combine to promote thriving communities, with Portland providing an exceptional setting for these discussions. The city is home to impressive museums and heritage organizations, a highly engaged preservation community, an innovative

Top Susan Bartlett Rice’s mural of clamdiggers on the side of 223 Congress Street, at the foot of Munjoy Hill. Photograph by K. Ebner Creative. Middle A historic image of the Eastland Hotel hangs in what is now the Westin Portland Harborview. Photograph by K. Ebner Creative. Bottom A lighthearted moment at our first Summit in Worcester, Massachusetts, in 2022. Photograph by Kevin Trimmer.

arts and cultural scene, and a storied historic downtown. Nineteenth-century brick storefronts stand next to modern commercial buildings. Stately Gothic Revival churches and Federal-style civic buildings overlook two-hundred-year-old working wharves. And residential neighborhoods showcase an eclectic mix of houses of all sizes and styles. Preservation’s impact on community vitality can be sensed throughout the city, carrying conversations beyond Summit session rooms and out into the world. The Portland community is also at the forefront of developing models and approaches to address some of New England’s most pressing challenges, from sea level rise to housing affordability. The creative approaches to improving quality of life for all Portlanders epitomize the goals of Summit conversations.

Holding the Summit at the historic Westin Portland Harborview, formerly the Eastland Hotel (1927), places it in the middle of that cultural landscape and in the heart of Portland’s thriving Arts District. Designed by local architect Herbert W. Rhodes, the Eastland Hotel was once promoted as the largest hotel in New England. Now part of the Congress Street Historic District, the hotel is surrounded by historic landmarks, museums, theaters, and art galleries, and located within a renowned performing and visual arts scene. Portland's Old Port and waterfront, with fresh ocean air, cobblestone streets, historic buildings, and modern shops, are just a short walk away, evoking both a past deeply tied to the water and a modern maritime economy.

At the heart of the Summit is an ethos of community building that brings participants together and looks toward the future. The Summit centers the idea that preservation work is essential to improving lives and sustaining communities, and the basis of this work is a connected and active preservation movement. Gathering in Portland furthers that movement in a place primed for discussions spanning climate change, wellness, trust, affordability, and inclusion while prioritizing opportunities and creative solutions.

HISTORIC NEW ENGLAND SUMMIT 2024

CONVENING LEADING VOICES

Join cutting-edge thought leaders in preservation, culture, arts, and government who share inclusive, creative strategies for strengthening the livability and vitality of communities across New England and beyond. Summit 2024 themes include:

Sustainability and Climate Change

Cultural and Artistic Heritage

Community Advocacy and Civic Participation

Reframing History Education

Affordable Housing and Urban Development

The Future of New England Cities

REGISTER TODAY

NOVEMBER 14 & 15

IN PERSON & LIVESTREAM WESTIN PORTLAND HARBORVIEW PORTLAND, MAINE

The program also features special performances, cultural activities, networking opportunities, and more.

Historic New England invites you to engage with our Summit 2024 speakers in addressing some of today’s most complex and pressing challenges that inform our collective futures. Register today!

Add your voice to the conversation! #HNESummit

ARE YOU A FAN OF TREASURE HUNTS?

Maybe you’re a collector, or you simply love a great road trip. This summer, embark on an exciting journey from Maine to Rhode Island and collect stamps in your Historic New England Passport. With a dedicated page for each of our historic houses, estates, and farms, traveling with our Passport promises an adventure at every stop.

At each site, our welcoming staff will stamp your Passport with a distinctive design showcasing a feature or object unique to the location. And the best part? Once you’ve filled your Passport, you’ll receive a special prize you won’t find anywhere else.

Gather your favorite travel companions, cue up a playlist, and get ready for an unforgettable experience. Remember, this exciting opportunity is a Historic New England member benefit, so make sure you’ve renewed your membership for the 2024 season!

Creative ways our members have filled their Passports:

✭ Traveled to all the sites via public transportation

✭ Traveled to all the sites by motorcycle

✭ Completed the Passport in one season

✭ Published a blog post after each visit

How are you completing your Passport? We’d love to hear about it! Tag us @HistoricNewEngland on Instagram, Threads, or TikTok or email us at Magazine@HistoricNewEngland.org.

Former

At Sarah Orne Jewett House, a mirror was positioned to reflect the portrait of Sarah’s longtime romantic partner, Annie Fields

A traveling theater group and a clairvoyant stayed at Nickels-Sortwell House when it was the Belle Haven hotel in the 1830s

Acadia National Park is among the top ten most visited National Park in the United States

✭Stars indicate the approximate locations of Historic New England properties.

Castle Tucker resident Jennie Tucker once worked as a spy

Bowman House owner Bill Waters used to sketch for fashion designer Hattie Carnegie

In Rhode Island, you can have your passport stamped at two working farms and visit the state’s first organic CSA

At Casey Farm, there is a bullet hole in a parlor door from a Revolutionary War skirmish

Newport hosted the United States’ first circus in 1774

Arnold House and Clemence-Irons House is a “stone-ender,” a building type found only in Rhode Island

A visit to Watson Farm includes a hike to the stony shore of Narragansett Bay

✭Stars indicate the approximate locations of Historic New England properties.

Roseland Cottage is home to the oldest surviving bowling alley in the United States

Locals call Roseland Cottage the Pink House

Connecticut claims to be the birthplace of the hamburger Historic New England protects seventeen properties in Connecticut through its Preservation Easement Program

Hartford’s Wadsworth Atheneum is the oldest continuously-operating public art museum in the United States

✭Stars indicate the approximate locations of Historic New England properties.

The first subway system in the United States was built in Boston in 1897

At Rocky Hill Meeting House, you can see graffiti dating back to the eighteenth century

Ise Gropius invited wildlife to eat off of Bauhaus furniture at Gropius House, inside and out

Mary Gedney ran a tavern out of Gedney House during the Salem witch trials

A 140-foot windmill was installed at the Eustis Estate in 1902 to electrify the house

✭Stars indicate the approximate locations of Historic New England properties.

Jackson House is the oldest surviving home in northern New England

Rundlet-May House’s cuttingedge technology included an indoor well, a meat smoker, and central heating—in 1807

Cyrus Bruce, the majordomo of Langdon House, was one of the most fashionable Black men in eighteenth century Portsmouth

In 1775, New Hampshire became the first state to declare its independence from England

A tavern, a millinery shop, and a taxi service have all operated out of Gilman Garrison House

✭Stars indicate the approximate locations of Historic New England properties.

✭Stars indicate the approximate locations of Historic New England properties.

All thirty-eight Historic New England sites are open for the season! Grab your Passport–and your friends–and plan your visits this summer.

Need a new Passport? Time to renew your membership? Contact your membership team at 617-9945910 or Membership@HistoricNewEngland.org and they’ll help you get ready to explore all that Historic New England has to offer!

We can’t stamp your Passport in Vermont, but Historic New England members receive FREE reciprocal admission to the Henry Sheldon Museum of Vermont History! Founded in 1884, it’s the oldest community-based museum in the United States.

The watercolor maps and illustrations in this issue are by artist Liz Gorman. See more of her work at elizabethgorman.com.

Members Make a Difference

Historic New England members are at the heart of all we do. Your membership supports important work throughout the year, from repairing buildings and conserving objects to recovering and sharing stories about our region and its history. This is all possible because of your continued support and enthusiasm. From all of us at Historic New England, thank you for being a member!

We can’t wait to welcome you for tours and events this season as you make new discoveries with your Historic New England member benefits!

Do you need more stamps in your Passport or are you longing to visit your favorite Historic New England site again? Plan adventures today and book your free tours online at HistoricNewEngland.org/Tours.

PLANNING TIP: Don’t miss The Importance of Being Furnished, a special exhibition on view at the Eustis Estate through October 27!

Join us in person or online for events this year and save as a member! From Vintage Base Ball to Arts and Crafts Festivals to virtual programs on our research findings, every learner, explorer, and fun-seeker will find an event to enjoy.

» PLANNING TIP: Stay up to date with our events calendar at HistoricNewEngland.org/Events and book ahead online so you don’t miss a thing!

Need assistance with your online login? Contact your membership team at 617-994-5910 or Membership@HistoricNewEngland.org.

Did you know the Lyman Estate Greenhouses are open year-round, Tuesday through Saturday? That means you can brighten up your home in any season! Plus, members save 10% on all greenhouse purchases throughout the year, including sale events for orchids, houseplants, hostas, and herbs.

» PLANNING TIP: Give yourself enough time to stroll the Lyman Estate grounds or catch a tour of the house when it’s open.

What’s better than exploring Historic New England’s thirty-eight sites for free as a member?

Sharing it with your friends, of course!

Give a gift membership or refer a friend (have them mention your name when they join!) now through August 31, 2024, and we’ll send you both a set of Passport Ready notecards featuring Liz Gorman’s maps of all six New England states from this issue.

Bachelor’s Choice

by R. TRIPP EVANS

Tripp Evans is a Professor of Art History at Wheaton College in Norton, Massachusetts, where he specializes in American material culture and historic preservation.

Poet T. S. Eliot once wrote, “It is only in the world of objects that we have time and space and selves.” Each of the following works captures the time, space, and selfhood of a single man; together, they provide a glimpse of the dazzling range of works in Historic New England’s exhibition, The Importance of Being Furnished: Four Bachelors at Home, open June 21 through October 27 at the Eustis Estate in Milton, Massachusetts.

Henry Davis Sleeper

Ogden Codman Jr.

A prized possession of designer Ogden Codman Jr. (1863-1951), this striking John Singleton Copley portrait of his twice-great uncle functioned like an ancestral talisman. The rakish “Bad Uncle Richard,” as the family remembered him, nearly destroyed the Codman shipping firm through profligate spending, sexual scandal, and a weakness for acquiring French châteaux—all proclivities he passed down to Ogden Codman Jr. Installed at Codman’s Château de Grégy, Richard’s image embodied the luxurious, Francophile tastes of Codman’s bestselling 1897 treatise, The Decoration of Houses (coauthored with Edith Wharton), while also inspiring the designer’s ruinous real estate ventures. Writing his brother while near bankruptcy in 1931, Codman sighed, “It is like poor Uncle Richard all over again.”

Octagonal Sailor's Valentines like this one, collected by interior decorator Henry Davis Sleeper (1878-1934), were marketed to sailors in the nineteenth century as romantic souvenirs for loved ones back home. Drawn to all forms of Victorian folk art, Sleeper often installed these works with a wry sense of humor. When he decorated the Pewter Room at Red Roof, the home of his neighbor and lifelong love, A. Piatt Andrew, he installed a similar Sailor's Valentine at the room’s center. Years later Sleeper’s valentine inspired, in part, the most celebrated space at his own home, Beauport, overlooking Gloucester harbor. Decorated in pulsing reds, Sleeper’s octagonal Souvenir de France Room recalls the valentine’s silhouette as well as the signature color of Andrew’s home.

John Singleton Copley, Richard Codman. Boston, 1794. Oil on canvas. Bequest of Dorothy S. F. M. Codman, 1969.

Mellon Conservation Fellow Meghan Abercrombie recently completed conservation work on Sleeper’s valentine. Unknown maker, Sailor’s Valentine, 1840-60. Shellwork in wooden frame. Gift of Constance McCann Betts, Helena Woolworth Guest, and Frasier W. McCann, 1942.

Charles Hammond Gibson

Charles Leonard Pendleton

When antiques dealer Charles Leonard Pendleton (18461904) bequeathed his valuable collection of eighteenthcentury furniture to the Rhode Island School of Design Museum in 1904, his gift included several items that, like the man himself, were not all they appeared to be. Pendleton’s personal bedstead reflects his love for the English Chippendale style, as well as his penchant for “improving” antique works with reproduction elements. The bed’s eighteenth-century posts surround a virtuoso example of carving he commissioned around 1900, drawn from Plate XXX in Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director (1754). Fittingly enough, this centerpiece framed the deathbed of a collector who valued beauty more than truth.

Upon inheriting his family’s Back Bay townhouse in 1934, Boston writer Charles Hammond Gibson Jr. (18741954) placed the 1860 home under a virtual bell jar. Strictly preserving interiors last decorated in the 1890s, he altered just one space: his father’s former bedroom, which he renamed the Red Study and dedicated as a writing studio. Here Gibson installed this mid-Victorian armchair, a favorite of his father’s, in a gesture more defiant than sentimental. Opposed to Gibson’s calling as a poet and mortified by his son’s youthful same-sex affairs, his father had disinherited him in his 1916 will. When Gibson assumed ownership of the home eighteen years later, following the death of his mother, he replaced his father’s presence with his own.

Historic New England’s exhibition The Importance of Being

Furnished: Four Bachelors at Home is drawn from R. Tripp Evans’s book of the same title, a full-color examination of the four homes and their creators that publisher Rowman & Littlefield will release in June 2024. Please consider supporting this captivating exhibition, which will be free to members. The public can enjoy the exhibition with admission to the Eustis Estate. Special related programs and tours also will be available. Large exhibitions are not possible without support from members and friends. To learn more and make a gift, visit HistoricNewEngland.org/Furnished or send your gift to The Development Office, Historic New England, 151 Essex Street, Haverhill, MA 01832.

Historic New England Object Conservator Michaela Neiro prepares Gibson’s armchair for inclusion in the exhibition. Unknown New England maker, Armchair, c. 1860. Courtesy Gibson House Museum, Boston, Massachusetts.

Unknown English maker, Bedstead, 1750-70; Morlock and Bayer, Headboard, c. 1900. Mahogany and oak. Bequest of Mr. Charles L. Pendleton. Courtesy RISD Museum, Providence, Rhode Island.

A Hive of Activity Haverhill,

by CARISSA DEMORE Team Leader for Preservation Services

Architect's rendering of a versatile collaboration space under development on the ground floor of the Burgess Building at the Haverhill Center. designLAB, 2024.

hen William Burgess and Howard Lang opened the world’s largest concrete shoe factories in downtown Haverhill, Massachusetts, a century ago, they had many reasons to be excited: the beautiful brick buildings of Haverhill’s bustling downtown, the easy connections to the train station and major roadways, and of course the space and flexibility the new factory buildings offered to support a variety of uses. Today, these same features provide the foundation for Historic New England’s most ambitious project in our 114-year history: using our preservation expertise and our unparalleled object and archival collections to create a cultural destination and vibrant mixed-use district in the heart of the New England region.

In 1914, Haverhill was a thriving manufacturing center, with hundreds of shoe-related businesses producing tens of thousands of pairs of shoes daily. Burgess and Lang envisioned the two factories on Essex Street as parts of a whole—a beehive of industrial activity. Last summer, Historic New England reunited this urban beehive by securing our ownership of both buildings and three open lots across Essex Street, a main thoroughfare into downtown Haverhill. Together, these properties will become a living archive,

with space to explore the collections, permanent and changing exhibitions, and educational and communal spaces. The scale of the campus creates opportunities for complementary development, such as a hotel, housing, and commercial and retail activity that will bring life to an enhanced streetscape.

Our vision for the future of this complex is generating enormous interest and hundreds of people have been visiting, learning, and partnering with us as we move forward with our plans. Last summer and fall, Historic New England hosted vibrant programs in our outdoor spaces, led tours of the collections in storage, and held events to bring people together to talk about the future of Historic New England in Haverhill. This summer, we’re taking an exciting step to invite even more people into the process as we develop a dynamic Welcome Center on the ground floor of the Burgess building.

It will take many years to realize the full potential of the campus as a center of creativity and cultural connection, and the Welcome Center is an important way to build toward that goal. Compared to our thirty-eight museum properties, the Haverhill factories present a very different way for people to engage with community history, Historic New England, and our unfolding plans for the future. We’re thrilled to

strip out the 1980s partition walls and tired carpet, bringing the Burgess building back to its raw, industrial foundations. Then, working with a team of architects and contractors, we will build a flexible and accessible Welcome Center that connects the rich history of the collections with exciting digital media and public programs. The goal is to create a space that engages with the alley between the buildings, the sidewalk, and even the train station (a mere 250 feet away!).

In the century since Burgess and Lang established their shoe factories in downtown Haverhill, the landscape has transformed, yet their legacy continues. As we move forward with our plans in Haverhill, we are reminded that while our journey may

Page 18 Soles of Haverhill is a public art project that honors the Queen Slipper City’s past as a manufacturing center. Artist Jeff Grassie’s A Vibrant Sole is installed in Columbus Park. Top Aerial view of downtown Haverhill shows the beehive is once again abuzz with activity. Bottom left Father and daughter sell paintings at the 2023 Merrimack Valley Black and Brown Voices market held at the Historic New England Center for Preservation and Collections. Bottom right Artist Kevin Angulo creates De La Puente on the side of a garage in Haverhill, Massachusetts. All photographs by by K. Ebner Creative.

span years, the impact will resonate for generations to come. Together, we are shaping not just a destination, but a community built on inclusivity, creativity, and connection. We look forward to welcoming you to the future of Haverhill, where history meets innovation and the spirit of collaboration propels us forward.

For more information on the Historic New England Center for Preservation and Collections, including event listings and sponsorship opportunities, visit HaverhillCenter.org.

Costume Collection Weaving Stories with the

The costume collection at Historic New England contains more than seven thousand items ranging from seventeenth-century christening mitts to late twentieth-century Cub Scout uniforms. These garments tell stories of how people from all walks of life dressed themselves and used clothing to express their identities, status, occupations, and circumstances. The costume collection has long been a key site of collaboration with members of the public, including researchers, artists, designers, and technicians. Over the years, these individuals have generously shared their passion and expertise with staff, strengthening our understanding of these garments, their makers, and their wearers. Whether they visit Historic New England for a day or for decades, their lives become permanently woven into the stories we tell about the collection. In the following pages, Stacy Brannan recounts a recent experience studying historic garments at Historic New England and its influence on her work as a costume producer. Julie Solz shares her memories of Sharon Ann Burnston, who left an indelible mark on the costume collection at Historic New England.

Erica Lome, Curator

oFashioning Stage Costumes by

Stacy Brannan

Stacy Brannan has fifteen years of experience in theatrical costuming and is currently a graduate student at Boston University pursuing an MFA in costume production and a graduate certificate in museum studies.

As a costume producer, I fabricate period-appropriate costume designs for theater through patternmaking and sewing. There is no better way to learn about the ingenuity and artistry of historic garment construction than studying those within museum collections. While researching two projects, I visited the Historic New England Center for Preservation and Collections. During my visits, the staff made garments available to me to study, photograph, and measure.

My first visits were part of a yearlong study on 1830s clothing. First, I examined underpinnings and foundation garments, such as pantaloons, petticoats, and corsets. I took measurements and scaled them up to create underpinnings for myself. I returned to view dresses from the same period. While studying the dresses, I observed a recurring detail—a small section of tightly folded cartridge pleats on the back of a skirt, something I would have been unlikely to

Historic New England’s clothing costume—which includes dresses like those pictured on page 20—offers extraordinary details about more than three hundred years of life in the region. Above Left Stacy Brannan hand-embroiders a French knot flower pattern inspired by one she saw in the Historic New England collection. Above Right Brannan adjusts the sleeve of a period-appropriate c. 1830 dress with cartridge pleats she created for an independent study. Photographs by K. Ebner Creative.

see in printed sources that typically show only the front of a garment. This year, I returned to study early nineteenth-century gowns for my thesis, “Imperialism and New England Dress.” Handling the fabrics and viewing the embroidery of historic garments revealed not only the incredible workmanship and finery of early nineteenth-century clothing, but also how colonialism introduced new materials and designs to the New England wardrobe. My goal as a costume producer is to use my research to fashion a new garment which could have existed in the same period as those I studied, not to recreate historic garments. Most sources of historical dress provide written descriptions and front photographs, a poor substitute for the construction details revealed by viewing the actual garments. With all the information I collected during my visits, I completed an 1830s gown and am beginning an 1810s gown and pelisse (long coat) true to the period. The clothing collection at Historic New England has been an invaluable resource for research and an inspiration for my costume production.

For Good Measure

by Julie Solz, Team Leader, Collection Services

As museum staff, our favorite activities are working with the objects—caring for them when they are donated, preparing them for exhibition or photography, or retrieving them for researchers for further study. We have provided access to researchers interested in looking closely at our collections of spectacles, lighting devices, schoolgirl embroidery, wallpaper, hair jewelry, transferprinted ceramics, and all types of clothing. They come for different reasons—for publications, lectures, exhibitions, and reproduction. It has always been an important way that we share our collections.

One such expert was Sharon Ann Burnston (1946-2022), who worked with us for many years as she meticulously examined and measured eighteenth-century clothing and accessories in our collection. Sharon came to us after she had published Fitting and Proper, her seminal volume on eighteenth-century clothing from the Chester County (Pennsylvania) Historical Society collection.

top Stacy Brannan in the Boston University Theater Department Costume Shop with the c. 1810 pelisse she is fabricating as part of her thesis project. Photograph by K. Ebner Creative. bottom Sharon Ann Burnston at the Revolutionary War Weekend reenactment at The Fort at No. 4 (Charlestown, New Hampshire), 2012. Photograph by Sandy Cheney. Courtesy of the Estate of Sharon Ann Burnston.

Sharon hoped that she would publish a companion book on Historic New England’s collection detailing the everyday garments of New Englanders. Together with our staff, Sharon examined eighty-five collection items including gowns, stays, petticoats, shifts, cloaks, aprons, waistcoats, breeches, banyans, pockets, ruffles, gloves, mitts, wallets, caps, and shoes. She was exacting and tenacious, counted threads by the inch, and was generous in sharing her knowledge. She created detailed patterns of the clothing so that accurate reproductions could be made. Sharon was particularly interested in the wedding dress of Deborah

Sampson (1760-1827), who disguised herself as a man and enlisted in the Continental Army in 1782. Sharon created an exact replica of the dress, part of Historic New England's costume collection, for study and one for her own use for Revolutionary War reenactments. Sharon’s estate recently gave both dresses to Historic New England. We are thrilled to have them in our collection because they are important documents for educating the next generation of textile historians and are reminders of Sharon’s exuberant spirit.

Sharon’s patterns and research can be found on her website, sharonburston.com.

left Sharon Ann Burnston at her property in Epsom, New Hampshire, with her pet goose SuzieQ. Photograph by Jenn Van Valen. Courtesy of the Estate of Sharon Ann Burnston. right Gown worn by Deborah Sampson, c. 1785. Gift of Ann B. Gilbert, Carol Bostock Kraner, Susan Goldstone, and Louise Bostock Lehman Sonneborn in memory of Beatrice Weeks Bostock, 1998.

Catching Up with the Study Center

Meet some of the researchers who are helping Historic New England tell everyone’s stories

In 2021, Historic New England launched the Study Center at the Eustis Estate in Milton, Massachusetts. The Study Center conducts and oversees research to support tours and programs at our sites. It houses our internship program, fellowship program, and Recovering New England’s Voices—our institutionwide initiative for telling inclusive and authentic stories that challenge standard accounts of the past and promote community, collaboration, and inspiration at our sites. This year, we welcomed new researchers whose work supports Historic New England’s goal to tell everyone’s stories. It is also deeply meaningful to them, and so we have asked some of them to share that meaning with you.

Dr. Alissa Butler, Study Center Manager

Tell us a little about yourself.

Danikah Chartier, Indigenous Community Liaison and Researcher: I belong to the Eskasoni Mi’kmaw Nation. I also work at Colby College Museum of

Art as a Gallery Educator. I graduated from the Fashion Institute of Technology in 2023 with a BFA in photography and related media and minors in art history, fashion history theory and culture, and film and media studies.

Justin Kedl, Research Fellow: I am an artist and art historian born in Minnesota and raised in Colorado. I hold an undergraduate degree in sculpture and graphic design and a master’s degree in art history with a modern and contemporary focus.

Eleanor Martinez-Proctor, Research Fellow: I hold a master’s degree in public history from UMass Boston, where my work examined urban renewal and the working class. At Historic New England, my focus has been on finding and highlighting stories of people who are often overlooked at historic sites. These have so far included American descendants of slavery, women, immigrants, and members of New England’s working class.

Danikah Chartier

Photographs by K. Ebner Creative

Justin Kedl

Eleanor Martinez-Proctor

What are you working on this year at Historic New England?

DC: My research delves into the complex history of Indigenous peoples in the Northeast region and examines the direct interactions between former owners of Historic New England properties and Indigenous communities. I am also organizing and co-curating an exhibition of contemporary Indigenous art at the Sarah Orne Jewett Gallery, which will open in August, and writing an Indigenous terminology dictionary and allyship style guide.

JK: I’m researching the history of the technology at the Eustis Estate. Technological developments were happening rapidly when the estate was built in 1878, changing how we worked, how we traveled, how we communicated with each other, and how we lived in our own homes. The gradual technological developments at the Eustis Estate give us insight into how families adapted to new, modern lifestyles.

EMP: I’m looking at women’s history at the Eustis Estate. Between the family and the staff who lived here, these stories illuminate the lives of women during the Gilded Age across a wide range of experiences and social classes. Although there are great contrasts, there are also surprising parallels in the ways in which women navigated their worlds and found power within the rigid social structures of the time.

What made you want to do this work?

DC: This work is particularly important to me because my grandmother is a survivor of the Schubenacadie Residential School. I honor the revitalization work of my grandmother’s siblings, my cousins, and the entire community in Eskasoni, who refused to let the Canadian government and Catholic Church erase our culture despite their best efforts.

JK: I originally began working with Historic New England as a tour guide at Gropius House. I was interested in the project at the Eustis Estate as a generation prior to the Gropius House, whose technological developments set the stage for twentieth-century modernism as we know it.

EMP: I began my work with Historic New England as a guide when I was in graduate school. I’ve always focused on working class history, so I was immediately excited to do this research at an organization I’m so passionate about. I also listened to visitors during my tours and realized that there was a growing need to tell these stories at our sites.

What do you wish people knew about New England history that most don’t?

DC: I wish people knew more about Indigenous epistemology, spirituality, and ways of life. We were once abundant in resources and wellness because we didn’t take more than needed; we offered gratitude and shared amongst our community members.

JK: When most people think of New England architecture, they think of Colonial- or Federal-style houses. However, many architects built experimental, modern buildings in New England, beginning with Eleanor Raymond in the 1930s. New England is as significant a player on the modern architectural stage as it is a home for older styles of architecture!

EMP: The history of this region is often broader than we’ve been taught. From colonial histories of enslavement in New England to the midcentury workers who fought back against the clearing of Boston’s West End, there are many narratives in our collective history that deserve to be better known and understood.

Outside of your work with Historic New England, what are you passionate about?

DC: As an artist, I make long-term performancebased photographic series centered around mindfulness, self-cultivation, and social liberation. Beyond my conceptual photo series, I also make images documenting my Memere, Pepere, and Aunt B, paired with conversational interviews I have had with them over tea.

JK: I am also a practicing artist! I work mainly in ceramics, but I have also begun branching out into photography, fibers, and other mediums. My artwork is very informed by the historical research I do, and vice

versa. I have been fortunate to show my sculptural work in galleries nationally and internationally, including a few closer to home here in the Boston area.

EMP: Before working in public history, I began my professional life as a classical violinist, and I remain passionate about music and playing the violin. I also love attending live performances and exploring museums with my family— it’s wonderful seeing my kids discover what excites them!

DANIKAH CHARTIER AND JUSTIN KEDL ARE ARTISTS

whose practices intersect with their research for Historic New England. Chartier’s photography explores emotional release and collaborative artist/muse relationships. The images reproduced here are from her series, Memere, Pepere, and Aunt B. “I make this work out of my love for them and my desire to capture their essence to hold onto when the day comes that they are no longer with us,” Chartier says. “One may also draw meaning from the photos about my grandmother’s upbringing and her relationship to her Indigeneity and Catholicism.” Kedl works primarily in ceramics, and more recently has begun to explore photography, fibers, and other mediums. “My work has become a lot more minimal in response to my experience with the collection at Gropius House and other modern artworks that I have studied,” Kedl notes. “The sculptures and polaroids in this new series are meditations on light and color.”

Danikah Chartier’s portfolio is at danikahchartier.com and Justin Kedl’s portfolio is at justinkedl.com.

Justin Kedl. Moon Fog Vorboid. 2023, glazed ceramic stoneware, 6” x 7” x 7”h.

Danikah Chartier, Self Portrait with Memere, April 2022.

Danikah Chartier, Memere and Aunt B, August 2023.

Congratulations

Historic New England is delighted to recognize Ann and Graham Gund and Kristin and Roger Servison as this year’s recipients of The Historic New England Medal. Established as the organization’s most prestigious annual award, The Medal is bestowed upon individuals who have demonstrated a deep and sustained commitment to preservation and contributed truly extraordinary philanthropic and civic leadership in our community and region. The Medals were awarded at the annual Historic New England Medal Gala on March 16, 2024.

ANN AND GRAHAM GUND

Ann and Graham Gund are dedicated patrons of the arts and are active in the cultural and architectural communities of New England and beyond. Ann is a noted advocate for the arts serving in leadership roles and on numerous boards, including the Museum of Fine Arts, GBH, and A.R.T. Through her thirty years of devoted service at The George Gund Foundation, she has also been committed to her interests in education, women’s issues, and environmental issues. Graham began his career in architecture working for Walter Gropius and then founded the firm GUND Partnerships in 1971. His architectural work has received wide critical acclaim and professional recognition and has brought the firm more than 125 awards for design excellence. Graham has served as an active member of the American Institute of Architects and as a Trustee of distinguished national organizations including the National Building Museum and the National Trust for Historic Preservation. Ann and Graham are collectors of contemporary art, and their collection has been widely exhibited and published.

Ann and Graham’s strong ties to Historic New England began forty years ago. Graham served as a Historic New England Trustee and Council member, sharing his knowledge and passion for preservation and architecture for more than two decades.

KRISTIN AND ROGER SERVISON

Kristin and Roger Servison share their passions for historic preservation and the arts, and for decades they have been dedicated and involved philanthropists for numerous organizations in Boston and the broader New England community including the Museum of Fine Arts, Boston Symphony Orchestra, Tenacity, and Pioneer Institute. Roger and Kristin are collectors of American art and antiques with a focus on New England portrait miniatures and maritime artifacts. They are keenly interested in the stories of everyday life in New England and the artistic vision expressed in these artifacts. Roger joined Fidelity Investments in 1976 and led its pioneering efforts in direct marketing and discount brokerage, helping build the company into a mutual fund giant. Kristin’s past professional experience includes working as an equity research analyst and as a personal trust officer and portfolio manager. Roger served as a Historic New England Trustee for more than thirty years, including five years as chair of the board, and he continues to be active on the investment and fundraising committees. In 2019, he was named Trustee Emeritus in recognition of his long history of outstanding service. Kristin currently serves as a Historic New England Trustee and chairs the Collections Committee, sharing her expertise in American social history and decorative arts.

President and CEO Vin Cipolla, Kristin and Roger Servison, Ann and Graham Gund, Chair of the Board of Trustees Deborah Allinson.

Protecting New England’s Rural Landscapes

by ELIZABETH PALIGA Preservation Services Manager, Northern New England

At first glance, Valley Lodge looks like many similar colonial farmhouses dotting the Maine landscape. Painted a glowing yellow and sitting atop a rolling hill in the middle of 156 acres of forest and open land, the house in Baldwin, Maine, is flanked by a garage and barn on one side and a family burial ground on the other. When you start to take a closer look at Valley Lodge, however, its fascinating history becomes clear.

Ephraim Brown built the one-and-a-half story Cape Cod-style Valley Lodge in 1792. Brown left Concord, Massachusetts, in 1788 to assist his father in laying out the colonial town of Flintstone (now Baldwin), Maine. His father, David, was an army captain during the American Revolution and fought in the 1775 Battles of Lexington and Concord. For

Page 28 From the south, Valley Lodge resembles a typical Federal-style house. The original central chimney tucked behind the southern roof slope provides a clue that the original one-and-a-half story Cape Cod-style house is enclosed within the later addition. Photograph by Aaron Usher III.

Top The downstairs parlor’s simple paneling and built-in shelving appear to predate the Federal-style addition and may be original to the house. Bottom The fireplace surround and trim in an upstairs bedroom were made in an elegant vernacular Federal style and give the space a markedly different appearance than the downstairs parlor. Photograph by Aaron Usher III.

his service, Massachusetts rewarded Captain Brown with a bounty-land warrant in what would later become the state of Maine. David Brown eventually divided the land between his two sons. The house Ephraim Brown built on his half remains standing today, though identifying its original structure takes a bit of hunting.

Within a few years of its completion, Brown’s family began to outgrow the modest Cape. In the early nineteenth century, he expanded the house, encapsulating the original one-and-a-half story structure with the two-and-a-half story Federal-style facade that is visible today. Then, as now, additions were expensive and time-consuming. Whether it was due to lack of funds or other priorities associated with running a farm and raising a family, the Browns were slow to finish the newly built rooms, completing them over several decades. When they did so, rather than adopting a consistent style throughout, they made design choices that reflected contemporary trends. As a result, the woodwork, trim, and other decorative architectural features installed in the nineteenthcentury addition turned each room into a time capsule of rural, vernacular interpretations of late Georgian, Federal, and Greek Revival interior finishes.

Remarkably, this architectural digest has remained intact for more than two hundred years, thanks in part to its continued ownership by the Brown family until the 1930s, and to the dedicated efforts of its current owner, Peter Cyr, to preserve its unique history. Last year, Cyr, who has stewarded Valley Lodge since 1973, donated a preservation restriction on Valley Lodge to Historic New England. Now the house, including its remarkable chronological interior finishes, will be protected in perpetuity, as will the property’s outbuildings, stone walls, burial ground, and natural landscape features. Any proposed changes to these features are subject to review and approval by

Historic New England, which will work with Cyr and future owners to ensure the farm remains livable while preserving its defining characteristics.

Valley Lodge is an exciting addition to Historic New England’s Preservation Easement Program, which protects 125 properties across the region. These perpetual restrictions help preserve the vernacular history of rural New England landscapes when other preservation alternatives, such as Local Historic Districts, are not feasible. If you would like to learn more about how Historic New England protects private properties through its Preservation Easement Program, visit HistoricNewEngland.org.

From the Collections

Senior Curator of Library and Archives Lorna Condon and Curator Erica Lome share updates about recent acquisitions to Historic New England’s collections.

Untitled Landscape

Agnes Augusta Bartlett Brown (1847-1932) New England, 1875-90 Oil on canvas

Gift of Jonathan Loring, 2023

In the late nineteenth century, a time when women artists struggled to gain professional recognition, Agnes Augusta Bartlett Brown (1847-1932) became a successful and well-known painter affiliated with the Boston School. Her subjects included landscapes, florals, and domestic animals—particularly cats. Brown traveled widely and exhibited her work at the Boston Art Club, the Paris Salon of 1875, and the 1893 World’s Columbian Exposition. She and her husband, John Appleton Brown, belonged to a cohort of artists known for their impressionistic style, including Childe Hassam and William Morris Hunt. This untitled painting, perhaps inspired by their home in Newburyport, Massachusetts, captures Bartlett Brown’s technique and appreciation for rural landscapes. The donation of Agnes Augusta Bartlett Brown’s painting strengthens Historic New England’s collection of landscape paintings by New England artists of the late nineteenth and early twentieth centuries, and particularly women artists of the same period.

Side Chair

A. H. Davenport Co.

Boston, 1892

Gift of Robert Peabody Emlen, 2023

In 1892, Boston architect Robert Swain Peabody (1845-1917) inherited a set of antique painted chairs made between 1795-1799 for his ancestor Elias Hasket Derby (1730-1799) of Salem, Massachusetts. The original Derby chairs featured decorative carved plumes for the back splat, a motif often called a Prince of Wales feather owing to the design’s English origins. While he retained the originals, Peabody also commissioned a set of at least five reproductions from A. H. Davenport Co. for personal use. At the time, A. H. Davenport was a prestigious Boston firm specializing in furniture and interior decoration; their merger with Irving and Casson in 1914 created a design powerhouse that remained active and influential for years to come. Historic New England holds the largest collection of archival material related to Irving and Casson and A. H. Davenport Co., before and after their merger, including watercolors, design drawings, account books, photographs, and ephemera. The object collection contains fewer examples of furniture manufactured by the firms and almost none is as well-documented and well-preserved as this side chair, which retains its original paint color and decoration.

Selection of Ephemera

New England, late nineteenth-early twentieth centuries

Library and Archives Purchase, 2024

Telling the stories of the day-to-day lives of New Englanders is one of our highest priorities. One way that we do this is by collecting printed and photographic ephemera—invoices, advertisements, postcards, tickets, menus, programs, and greeting cards, among other items— that record the minute details of everyday life in the area. Here are a few examples of recent acquisitions that at the time of their creation might have seemed insignificant but now provide important information about the region’s social history and material culture.

Die-cut cardboard advertisement for The Popular One Price New England Boot and Shoe House in Meriden, Connecticut, 1880s

This 8 ¼” advertisement is an elegant endorsement of the New England Boot and Shoe House in Meriden, Connecticut. It is an important addition to our growing collection of ephemera documenting New England’s shoe industry.

Real Photo Postcard of a Watkins Remedies Traveling Salesman’s Wagon, Readsboro, Vermont, c. 1919

C. G. Brown of Readsboro, Vermont, was a door-todoor salesman for the J. R. Watkins Company of Winona, Minnesota. This real photo postcard depicts his company wagon and the horses that pulled it. Founded in 1868, the Watkins Company hired men to sell their health remedies, bath soaks, cough rubs, vitamin supplements, and other items across the country. J. R. Watkins became one of the largest direct sales companies in the United States.

Brochure for the Bay State Parcel Checking Company’s Automated Coin Controlled Parcel Checking Cabinet, c. 1914 Boston’s Bay State Parcel Checking Company described its green and gold enameled cabinets (patented in 1914) as, “The perfect parcel checking system. Check your suitcase, bag, parcels, umbrella or other hand luggage in your own steel safe deposit box. No discourtesy. No tips. Deposit 10 cents. Lock door and withdraw key…A boon to the commercial traveler. A joy to everyone anywhere.”

Joseph Peter Spang, 1934-2020

by LORNA CONDON, Senior Curator of Library and Archives

Peter Spang cared deeply about Historic New England, its mission, collections, museum properties, and staff. He was a member for sixty years, served on the Board of Trustees, and when he died on May 7, 2020, had the distinction of being the longest-serving member of the Collections Committee. During his lengthy association with Historic New England, Peter’s deep knowledge of history, architecture, and the region’s material culture, his commitment to scholarship, and his understanding of museum practices made him a tremendous asset to the organization.

Peter was born in Chicago in 1934 to Joseph P. Spang Jr. and Gwendolen (Green) Spang. In 1938, his father became president of the Gillette Company, and the family returned to Massachusetts. Peter attended the Dexter School, the Brooks School, Harvard College, and studied at The Courtauld Institute of Art in London. In 1959, he became the founding curator at Historic Deerfield, remaining there until retiring in 1986. In his retirement, Peter tirelessly supported the work of not only Historic Deerfield and Historic New England but also the Massachusetts Historical Society, The Trustees, and the Pocumtuck Valley Memorial Association, among many other organizations.

Peter mentored many staff members of these organizations and provided opportunities for them to come together to share their knowledge and

experiences. Historic New England staff frequently received notes from Peter in the mail accompanied by reviews of books, exhibition brochures, or news articles that he thought would interest us. Here is just one example: “On my recent trip, I picked up this brochure about an exhibition on Le Corbusier in Berlin and spied the clipping [which was about Walter Gropius] while reading the newspaper on the flight back. No need to acknowledge. Best as ever, Peter.”

Peter was an extraordinarily kind and generous man, whose loss is still keenly felt at Historic New England.

A Legacy Continues

Thanks to a generous bequest, Peter Spang’s commitment to Historic New England will continue, and his legacy will support the work that he cared about so deeply. Donors who include Historic New England in their estate plans are recognized as Otis Society members. If you have already made a bequest or would like information about the Otis Society and additional charitable gift options, contact us at Development@HistoricNewEngland.org or 617-994-5951. Please consider including Historic New England in your estate plans, create your own legacy, and help us continue our mission for generations to come.

Courtesy of Historic Deerfield

Courtesy of the Spang family

THE QUESTION COLLECTION

In each issue, we ask a Historic New England staff member to share their unique perspective on history, preservation, and sandwiches.

Carolyn Nelson, Lead Guide at Clemence-Irons House in Johnston, Rhode Island, is Historic New England’s longestserving guide. She became the part-time “overseer” of Clemence-Irons House on June 1, 1992, about a year after getting her bachelor’s degree in historic preservation at Roger Williams University. At the same time, she accepted a fulltime job at a local defense contractor. By the end of the first season, Carolyn had grown so attached to the house that she stayed on as a guide. Historic New England’s dedication to collecting and interpreting objects that tell stories of everyday life, rather than “expensive, high-end, fancy things,” is one of the reasons Carolyn finds our sites so meaningful—and why she doesn’t plan to retire until she can “no longer climb the stairs” at Clemence-Irons House. Carolyn works at the Naval Undersea Warfare Center and lives in Jamestown, Rhode Island, with her husband, Kurt, and dog, Candy. Read on to find out what kind of sandwich she orders at her favorite spot, Jigger's South, in North Kingstown, Rhode Island, and how her love of balance is evident from both her astrological sign and the architectural style that best reflects her personality.

1. What’s your astrological sign?

Libra

2. Which Historic New England site would make the best setting for a reality TV show?

Eustis Estate

3. If you could have one thing from our collection in your home, what would it be?

Hoosier cabinet

4. If you were an architectural style, what would you be?

Federal

5. What are your three favorite books? Pride and Prejudice, Les Misérables, Early Homes of Rhode Island

6. Coffee or tea?

Tea

7. Hardwoods or carpet?

Hardwood

8. Do you compost?

Yes

9. If you could meet anybody, dead or alive, who would it be?

Abigail Goddard

10. If you could buy a new property for Historic New England, what would it be?

Horsehead (Jamestown, Rhode Island)

11. Define preservation in three words: Reuse, Sustainable, Grassroots

12. What’s the best sandwich?

Chicken salad

13. Which season is the best?

Fall

Want to take a tour of Clemence-Irons House with Carolyn? She is usually on site on the second and fourth Sundays of each month.

Carolyn Nelson, Lead Guide, Clemence-Irons House, 2024. Photograph by K. Ebner Creative.

Manufacturing Afoot

Shoe manufacturing has a rich history in Massachusetts. In 1648, local shoemakers formed one of the country’s first guilds to protect their trade. Inventions and other technological advancements in Massachusetts, such as the invention of Charles Goodyear Sr.’s (18001860) rubber vulcanization process in 1839 and Elias Howe Jr.’s (1819-1867) sewing machine in 1846, revolutionized the shoe manufacturing industry. By 1900, 40 percent of the country’s shoes were manufactured in the commonwealth.

The two photographs shown here, recently acquired by the Library and Archives, highlight the importance of shoemaking and associated industries, as well as the crucial role women played in the workforce. The shoe manufacturing industry provided women with increased economic independence and opportunities outside of the home. In 1915, the Bureau of Labor

by JORDAN MEYERL Senior Archives Cataloguer

Statistics reported that more Massachusetts women worked in shoe manufacturing than in any other “factory trade” except for the textile industry. Both images include the names of women photographed on the verso, as well as the names of men photographed who managed or owned the factories, allowing for further research to be conducted about the individuals who worked in these factories.

The photographs also showcase the prevalence of the shoe industry in Haverhill, Massachusetts. Known as the “Queen Slipper City,” Haverhill was once a center of shoe manufacturing. By the end of 1913, an estimated one-tenth of the shoes in the United States were produced there. The Historic New England Center for Preservation and Collections will be housed in the Lang and Burgess buildings, two former shoe factories in Haverhill.

left Women packing shoes at the W. & V. O. Kimball Company, Haverhill, Massachusetts, 1914. right Women making shoe boxes in the Ayer & Webster factory, Bradford, Massachusetts, 1917.