Tag Archives: Antiques

Salem needs a (real) Tavern

There are three bar-restaurants in Salem with the name “Tavern”: the Tavern at the Hawthorne Hotel, the Village Tavern, and the Tavern in the Square. None of these places are really taverns. The Hawthorne Hotel’s Tavern probably comes closest, but it is a tavern-esque room in a 1920s hotel, the Village Tavern and the Tavern in the Square are charmless modern sports bars which are located in neither village or square: they are certainly not taverns (see Matt’s comment below–it’s not in the square, it’s on the square, surely?). We have other places that come close to being taverns in some ways (In a Pig’s Eye, Naumkeag Ordinary) but I want the real thing. What I want is the long-lost Black Horse Tavern, or something very much like it.

The Black Horse Tavern/ Trask Homestead, built c. 1680

The Black Horse Tavern/ Trask Homestead, built c. 1680

I think every town in the greater Boston area had a Black House Tavern in the eighteenth century: Salem’s was located on Boston Street, a main entrance corridor then and now, and operated from about 1680 to 1740 by all accounts. The house survived until the later nineteenth century, I believe–certainly long enough to be photographed—but by that time it was primarily known as the old Trask house, after one of the seventeenth-century “Old Planter” settlers of Salem. I walked over to Boston Street to photograph its location and became quite excited when I found a near lookalike (disguised by 1970s siding and replacement windows)–but alas, its surviving neighbor is indeed the Samuel Bell House, built in 1721.

Black Horse 006

The Black Horse was hardly Salem’s only colonial tavern: these essential institutions are inextricably interwoven with the Witch Trials and every other public event in the past. Those two grande dames of Colonial Revivalism, Alice Morse Earle (1851-1911) and Salem-born Mary Harrod Northend (1850-1926) both loved taverns and revealed the names of Salem’s finest in Stage-coach and Tavern Days (1900), Memories of Old Salem (1917) and We Visit Old Inns (1925): the Ship Tavern, Thomas Beadle’s Tavern, the Kings Arms (which acquired the more politically correct name the Sun Tavern with the Revolution, and where John Adams frequented when he visited Salem), the Bunch of Grapes. In the words of Northend, in imagination you can enter one of these old Ordinaries, seat yourself by the side of the broad fireplace, warmed by the lively wood blaze that crackled in the hearth, and meet distinguished strangers. You can easily discern her fascination with taverns!

My tavern would look like an urban version of the Black Horse, because the post roads that Boston Street used to be ceased to exist in the age of the automobile. The hard and soft furnishings would be relatively easy to assemble, I think, so I’m fixated on the all important sign. If I were going to stick with the name Black Horse, a slightly more colorful version of the sign below (from a 2010 Skinner auction) would do nicely–but I think I might go for something more eccentric. I love the twentieth-century “Raven & Ring” sign, but this seems more appropriate for Baltimore than Salem. Whenever I do come up with a name (and a tavern) I have my signmaker all picked out:  Heidi Howard, Maker & Painter, who produced the White’s Tavern (with black horse) sign below.

Black Horse Tavern Sign Skinner

Tavern Sign Raven and Ring

Tavern Sign White


Weekend Watercraft

The weather continues to be amazing here in New England: clear, sunny, breezy and never (knock wood) too hot: this might be the first summer without a heat wave in a decade. I spent the weekend on or near the water, and much of yesterday afternoon admiring the old wooden boats of the (32nd) annual Antique & Classic Boat Festival at Hawthorne Cove Marina near the House of the Seven Gables. As was the case with the classic cars a few weeks ago, I wasn’t intending to post on this event because I’ve done so before, but many of the boats were new to the festival, or at least new to me, including a beautiful 1932 Chris Craft runabout named Nancy which stole my heart–much like the little BMW limo from the car meet. So here’s the Nancy and some of her fellow party boats, all gleaming in the late summer sun. How can plastic possibly compete?

Watercraft 007

Watercraft 090

Watercraft 025

Watercraft 024

Watercraft 036

Watercraft 038

Watercraft 055

Watercraft 059

Watercraft 068

I think I will insert a little plastic in here–our kind of watercraft, near the Parker River in Newbury this weekend:

Watercraft 10


Secret Weapons

Today I have another Victorian fad: sword canes or “sword sticks”: harmless-looking walking sticks with blades concealed inside, one of several variations of “novelty canes” produced in the nineteenth century. Yesterday I drove up to York to celebrate my father’s birthday accompanied by my stepson, who has long had a singular obsession on the sword cane (or cane sword) that has leaned in the mud room alongside more mundane umbrellas and tennis rackets since I was a little girl. It’s the first thing he went for when we got there–what? why? and most importantly, who will inherit it? I don’t know much–all I could think of was the recent Sherlock Holmes film, in which Jude Law’s Dr. Watson wields a sword stick, and John Steed in The Avengers, who utilizes the umbrella variation. I checked out some auction archives, and they don’t seem to be particularly valuable. I can imagine that it ceased to be respectable in genteel society to walk around with a sidearm in the nineteenth century and so sword sticks emerged, but they seem to have been more fashionable than utilitarian. Ours looks like a simple cane made with a curved handle, but the steel blade inside has interesting markings: I think I might take it to an appraisal event at some point in the not-too-distant future.

Sword Cane 046

Sword Cane 037

Sword Canes ATHM

Sword Cane Skinner Auctions

Our family’s sword stick (alternatively called swordstick, sword cane & cane sword) and 19th century examples from the American Textile History Museum and Skinner Auctioneers.

There are a few cultural references to sword canes and I’d be grateful for more! Besides Watson and Steed, there is Bob Dylan (Your grandpas cane, it turns into a sword, “On the Road Again”, 1965, thanks to Cheryl Beatty at the American Textile History Museum, which is also the source of the image above) and Lord Byron, who apparently used his sword stick for more than prop. The recent Byron exhibition at King’s College, London features several references to and images of swordsticks: no doubt they amplified his dashing demeanor.

Sword Cane

Byron

Sword Stick Byron

Jude Law as Dr. Watson with cane; drawing of Lord Byron, by Alfred Guillaume Gabriel dOrsay, 1823, Victoria & Albert Museum; Lord Byron’s sword stick, from the online exhibition Byron & Politics: ‘Born for Opposition’, King’s College, London

 

 


Fabric for the Fouth

I’ve been rather casually researching how the Fourth of July was commemorated on its Centennial in 1876, and while all the attention is generally focused on the great Philadelphia Centennial Exposition, I have come to appreciate all the special fabrics that were produced that year, material girl that I am. Textiles are key to this celebration: as the United States was in the midst of its industrial revolution, machine-made fabrics were featured prominently in the Exposition’s displays, and it also had a special focus on the “women’s sphere” and the domestic arts. Of course textiles are always a central feature of Independence Day celebrations: even more than fireworks, the Fourth is all about flags, swags, and bunting. As I write, I’m looking at the flag runner on my dining room table, a flag pillow on a nearby chair, and flags flying outside. In 1876, I think they were much more lavish–and much more creative–with patriotic displays of fabric. On the way home from my recent road trip, I passed through the northwest corner of Connecticut and the pretty town of Litchfield, where the Historical Society was featuring an exhibition on the Colonial Revival called “The Lure of the Litchfield Hills”. I enjoyed seeing all the items in the exhibition immensely, but was particularly taken by a child’s drummer costume for the Litchfield Centennial parade. So this would be the first item in my own little collection of Centennial textiles, followed by a banner made for Salem’s 1876 celebrations, a beautiful Centennial coverlet from the amazing inventory of Jeff. R. Bridgman, Antiques, and two Centennial quilts from the collection of the Smithsonian’s National Museum of American History. You can see the centrality of the Philadelphia Exposition; the custom of the time was to incorporate souvenir handkerchiefs into memento quilts, as Mary Stow and Esther Cooley evidently did. To round out my collection I must have one of these very handkerchiefs (from the Metropolitan Museum of Art), and of course, a Centennial Flag (from the New York Historical Society).

Fabric

Fabric Salem Banner

fabric coverlet

Fabric Quilt smithsonian stow

Fabric Centennial Quilt Smithsonian

Fabric handkerchief 1876 MET

Fabric Flag NYHS 1876

 


Emulating Salem

I’ve been trying for quite some time, in several posts, to place Salem squarely in the center of the Colonial Revival design movement of the later nineteenth and twentieth centuries–and not just the artistic and academic movement, but also its more popular expressions. This is a continuing exploration, and as I am trained not as an art historian, or even an American historian, but a plain old English historian, I’m not sure that I’m searching in the right places or looking at the right sources. Right now I’m particularly interested in the broader impact of the period rooms installed in several major American museums after George Sheldon (at Deerfield in the 1880s) and George Francis Dow (at Salem’s Essex Institute in 1907) created the first period-room displays. By the 1920s and 1930s period rooms seem to have been assembled in most of the major American art museums, among them distinct Salem rooms such as that established by architectural historian Fiske Kimball at the Philadelphia Museum of Art in 1923 and the South Bedroom/later “McIntire Room” at Winterthur.

Salem Room Philadelphia MA

Salem Room Winterthur McIntire Room

The Salem and McIntire Rooms at the Philadelphia Museum of Art and Winterthur Museum.

I don’t think that it is a coincidence that you see advertisements for reproductions and adaptations of “Salem” furniture from this very same era, though the inspiration could be traced to many sources. Several major American furniture manufacturers, including Karpen Furniture and the Erskine-Danforth Corporation, produced entire lines of “Early American” reproductions. The latter’s Danersk line, advertised with accompanying Salem ships, seems like the very epitome of the popular Colonial Revival.

Salem Room

Salem Room 1928

The “Salem Room”: 1928 vignette by Edgar W. Jenney, who specialized in the depiction and reproduction of historical interiors and worked to preserved them–most notably on Nantucket.

Salem Room 1926p

Salem bed with border

1926 advertisements for Danersk Early American furniture, Erskine-Danforth Corporation.

It’s not really Salem-specific, but I can’t resist referencing the great 1948 Cary Grant/Myrna Loy film Mr. Blandings Builds his Dream House here, because it both exemplifies and mocks the longstanding influence of the Colonial Revival in America. After an interior decorator (named Bunny Funkhouser!) sketches an over-the-top “Colonial” living-room redesign for the Blandings’ NYC apartment featuring a cobbler’s bench, pie safe, and spinning wheel, they decide to decamp for the real thing in Connecticut. When their authentic colonial is deemed unsound, they level it and build a neo-Colonial, a bit more refined than Funkhouser’s sketch certainly, but most definitely Colonial in inspiration and design. I can’t find a still of the Funkhouser room, but you’ve got to see it to believe it.

Blandings


In Praise of Massachusetts Chairs

Aficionados of antiques, decorative arts, and furniture, or simply admirers of artistry and design, can find plenty to see and learn at all of the events and exhibitions associated with Four Centuries of Massachusetts Furniture , a collaboration of eleven institutions designed to put the spotlight on Bay State craftsmanship. You may not have been aware that this past Tuesday, September 17th, was declared Massachusetts Furniture Day by our own Governor Deval Patrick!  The announcement was made at the State House with the chair of John Endecott, the first governor of the Massachusetts Bay Colony, sitting prominently in the background–I assume this is a Salem chair as that is where Endecott landed and lived (it certainly couldn’t be the English chair which accompanied his successor John Winthrop on the Arbella  which is the subject and device of Hawthorne’s story “Grandfather’s Chair”).

Chair of Endecott at MSH

©Andrea Shea/WBUR

It’s really all about chairs for me, as even a casual reader of this blog would know. Just in my head, without going to Four Centuries’ great website or any of its events, I can immediately think of a chronological succession of great Massachusetts-made chairs–up to about 1830 or so:  after that, I’m lost. The nice thing about this initiative is its incredible time span, which must accommodate colonial craftsmen and Federal superstars like Samuel McIntire of Salem as well as industrial manufacturers in central and western Massachusetts, After all, Worcester held the title of “chair capital of the country” a century ago and Gardner is still proudly “the chair city”.

Biggest_Chair,_Gardner,_MA

Gardner’s Big Chair, c. 1910

So here we go:  my own Four Centuries of Massachusetts Furniture, taken from a variety of sources and certainly informed by the collections showcased on the Four Centuries’ sitea particular discovery for me is Boston furniture-maker Samuel Gragg–amazing!  Obviously there’s a bias here in favor of the early nineteenth century, but it was hard to choose favorites in general:  Massachusetts really produced a lot of great chairs (more than all of the other original 12 colonies put together apparently) and continues to do so.

Chair 17th c MFA

Chair Chippendale Boston MFA

Chair Lolling Skinner

PicMonkey Collage

Salem Fancy Chair

Chairs 1825

Chair regency winterthur

Richardson Chair

Apartment Therapy

Chair Plycraft

Char by Jay Stanger 1994 Fuller Craft

Made in Massachusetts:  Leather “Great Chair“, 1665-80, Boston (a near-contemporary of the Endecott chair), and Chippendale side chair, about 1770, Boston, both Museum of Fine Arts, Boston; Federal “Lolling” Chair made by Joseph Short of Newburyport, c. 1795; Federal armchairs made by Samuel McIntire for the Peirce-Nichols House in Salem, 1801, Metropolitan Museum of Art, New York, and in situ; “Fancy” side chair, probably Salem, c. 1800-1820, American Folk Art Museum, New York; Pair of decorated fancy chairs, attributed to Samuel Gragg, Boston, c. 1825, Skinner Auctions; Boston “Grecian” side chair, c. 1815-25, Winterthur Museum, Gallery & Library; Armchair designed by H.H. Richardson for the Woburn Public Library, Boston, 1878, Museum of Fine Arts, Boston; Shaker chairs at the Hancock Shaker Village near Pittsfield, Massachusetts, courtesy of Apartment Therapy; Armchair by Norman Lerner for Plycraft, Lawrence, Massachusetts, c. 1955, Skinner Auctions; “Arched and Animated” chair by Jay Stanger, Fuller Craft Museum, Brockton, Massachusetts.

Mass Furniture Haverhill Chairs

Another great line-up:  chairs in the snow, c. 1910, Haverhill, Massachusetts. Smithsonian Institution.


Ship America of Salem

For this evolving-memorial day of sorts, a thoroughly patriotic post on one of Salem’s illustrious ships from days gone by, the aptly-named America, which one source describes as “the largest, the fastest, the most fortunate and the most famous of all the privateers which at any time sailed out of Salem Harbor” (Old-Time Ships of Salem, Essex Institute, 1922). This is saying a lot, as Salem sent out 40 privateers during the War of 1812 alone. Built as an East Indiaman by famed Salem shipbuilder Retire Becket for Crowninshield & Sons in 1803-4, the America had an illustrious commercial career even before it (she) was transformed into a private-armed corvette for the War of 1812. Its entire voyaging history reads like a novel by C.S. Forester or Patrick O’Brian.

America of Salem Old Time Ships

America Model Addison Gallery of American Art

Anton Roux, The Ship America at anchor in Marseilles, 1806, Peabody Essex Museum; Model of the America by Captain H. Percy Ashley, Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts.

The conversion of the America from merchant to naval vessel involved removing her top deck and lengthening her masts and spars to support an enormous spread of sail–she was fast before by all accounts, but after she was “razeed”, she became even faster, a ship of prey. To me, she looks like she’s very low in the water, but obviously also very light in the water. The America was armed with 20 guns and a crew of 150 sailors for her five war-time “cruises”, during which she captured 27 British vessels, valued at more than a million dollars with their cargoes. After the war, the America languished in Salem and was finally dismantled in 1831, outlasting the famous luxury yacht modeled after her, George Crowninshield’s Cleopatra’s Barge, by several years.

America EIHC

America EIHC2

America Princess Elizabeth 1815 Ropes

The America under full sail, in a series of illustrations from B.B. Crowninshield’s “Account of the Private Armed Ship ‘America’ of Salem”, Historical Collections of the Essex Institute, January 1901): the first is from a painting by Edward J. Russell, and the last is from a painting by George Ropes of the America chasing down the British Ship ‘Princess Elizabeth’ in 1815, both are in the collection of the Peabody Essex Museum, Salem.

I’ve been looking, looking, looking, but I can’t find an America plate or jug (though many Friendship and Grand Turk ones are out there), though I did find the hooked rug below, a lot in Northeast Auctions’ recent Annual Marine, China Trade & Historical Americana auction.

America of Salem


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