Sunny June continues, showcasing gardens all around me in the Seacoast region of southern Maine and coastal New Hampshire. I’m back to Salem today, and then off on other adventures, but first I wanted to share some photographs of gardens along (or not too far away from) the York and Piscataqua Rivers, including an absolutely stunning private garden which is cultivated by friends of my parents. It is behind a gate, which reveals nothing of the wonders within, so I feel very fortunate to have been granted access: the garden was in its last stage of late-spring bloom, but I’m sure you can discern its full-blown glory even with my amateur photographs. A bit further down (up?) the York River, the “old-fashioned” garden at the Elizabeth Perkins House, now the main office of the OldYork Historical Society, has always been one of my favorite York gardens: this year it is untended due to the pandemic, but I have no doubt it will rise again.
A spectacular private garden along the York River and the Elizabeth Perkins House and grounds.
Over in Portsmouth, I found refuge from a largely-maskless crowd on Juneteenth in the city’s pocket gardens and on the grounds of the Governor Langdon House, which belongs to Historic New England. So again, not a lot of garden-tending, but good bones!
Today’s #SalemSuffrageSaturday post is really more of a list than a composition, and a working list at that: I want to take a stab at identifying as many female Salem artists as I can, although I know it’s an impossible task. It’s impossible because there were so many, and I’m pretty certain I haven’t tracked them all down, but it’s also a difficult task because of the historical impact of gender. In the seventeenth, eighteenth, and nineteenth centuries, women were taught artistic and creative skills as part of their informal and formal education: some excelled and were clearly artists, even though they—or anyone else—did not identify themselves as such. I think this especially applies to women who worked in the textile arts but to other women as well. In the nineteenth century we see the emergence of (a few) women who can make their living through their artistic talent and skill; this is rarely possible before.
Fidelia Bridges (1834-1923) by Oliver Ingraham Lay, 1872, Smithsonian: Bridges is probably the first and most successful Salem woman artist, though she traveled widely and lived in Connecticut for most of her professional life.
Daughters of old Salem families, Fidelia Bridges, who worked in several mediums and as both an artist and an illustrator, the Williams sisters, Abigail and Mary, who were both artists as well as art dealers, and sculptress Louise Lander, all found themselves in Rome in the mid-19th century for varying periods of time, drawing inspiration and establishing connections. The Misses Williams returned to the family home on Lafayette Street where they created a studio and loaned their works out to several prominent institutions, including the Essex Institute, which featured its very first art exhibition in 1875 featuring many Williams works. Louise Lander (1826-1923) also returned, reluctantly and eventually, to Salem and the family home at 5 Summer Street when she was shunned by the Anglo-American (and quite Salem-dominant) circle in Rome upon charges of some sort of scandalous behavior which she never deigned to answer. She exhibited her “national statue” of Virginia Dare, the first English child to be born in the New World, to raise money for war relief and moved to Washington, D.C. upon the death of her last Salem sister in 1893.
Mary E. Williams, illustrations from The Hours of Raphael in Outline – Together with the Ceiling of the Hall Where They Were Originally Painted (Little, Brown, 1891); Just some of Mary and Abigail Williams’ works shown in the 1875 Essex Institute Exhibition; Virginia Dare in the Elizabethan Gardens & notice in the Boston Post, January 24, 1865.
To these nineteenth-century artists who seem to be awarded “professional” status I would add Mary Jane Derby (Peabody, 1807-1892) and Mary Mason Brooks (1860-1915) from the generation before and after the “Roman” circle. I’ve written about Derby many times before (see here and here) because I am the fortunate recipient of a journal she composed for her grandchildren, and Brooks more briefly here. Before her marriage, Mary Jane (a cousin of Louisa Lander) was definitely pursuing an artistic career, and she created several lithographs for the Boston firm Pendleton’s Lithography in the 1820s, including a view of her childhood home on Washington Street. Brooks, who worked exclusively in watercolors I believe, was one of the Salem artists who worked out of the famous “studio” at 2 Chestnut Street briefly, and her works were exhibited in Boston and New York. Among Mary Jane’s generation (almost) were two lesser-known artists, Sarah Lockhart Allen (1793-1877), who produced portraits in miniature and pastel, and HannahCrowninshield( 1789-1834), both of whom were recognized as working artists by their contemporaries. Sophia Peabody Hawthorne (1809-71) is representative of the score of score of female artists who exhibited and sold their works at charitable fairs and bazaars in mid nineteenth-century Salem: always as “misses”.
View of the Nahant House by “MJD” (Mary Jane Derby), Boston Rare Maps; Mary Mason Brooks, The Lumber Schooner, Grogan & Company Auctions. Just a few of the “Fine Arts” exhibitors from Reports of the First Exhibition of the Salem Charitable Mechanic Association : at the Mechanic Hall, in the city of Salem, September, 1849
And then there were all those Salem needlewomen! In her definitive work Girlhood Embroidery: American Samplers and Pictorial Needlework, 1650-1850 (1993), collector and scholar Betty Ring devotes an entire chapter to Salem, focusing on the influential school of Sarah Fiske Stivours (1742-1819) and showcasing the work of Antiss Crowninshield (1726-1768), Love Rawlins Pickman (Frye, 1732-1809), Susannah Saunders (Hopkins, 1754-1838), Betsey Gill (Brooks, 1770-1814), and Mary Richardson (Townsend, 1772-1824) among others. This was a very important Salem art form that was revived in the late nineteenth and early twentieth century by Jenny Brooks, Mary Saltonstall Parker (1856-1920) and other entrepreneurial artists.
Betty Ring’s two-volume Girlhood Embroidery; Salem samplers by Susannah Saunders (Sothebys) and Elizabeth Crowinshield (Doyles); Jenny Brooks Co. advertisements from 1913, and Mary Saltonstall Parker’s cover embroidery for House Beautiful, October 1916.
So that brings me to the most entrepreneurial of Salem women artists, or maybe all Salem artists: Sarah Symonds, an artist-craftswoman descended from a long line of Salem craftsmen. I’ve written about Symonds (1870-1965) very recently, so I’m not going to go and on here, but she operated a very successful business selling her cast plaques of historic Salem symbols and structures in the first half of the twentieth century. Following her death in 1965 the Essex Institute, which operated as Salem’s historical society until its amalgamation into the Peabody Essex Museum in 1992, started collecting her works, as they “have enriched our local picture of the past”.
Sarah Symonds in her studio, Phillips MSS 0.202, Papers of Sarah Symonds, 1912-21.
How the past informs the present, and how the present acknowledges, interprets, and builds upon the past are central preoccupations of mine, and artistic perspectives on these processes can be just as illuminating as texts. I’d like to conclude this (again, working) list of women artists from Salem with a contemporary artist whose work is a great example of this illumination: book artist JulieShawLutts. Julie’s a great friend of mine and I’ve featured her work before here, but she has just completed a very timely project which I love, so I wanted to showcase her talents again. TheVote is a mixed media artist’s book which commemorates the achievement of women’s suffrage in ways that are both personal and memorial, material and textual, and touching: all the best ways.
What a bright and glorious June: quite the contrast to the dark and challenging time we find ourselves in. I’m in York Harbor for most of it, gardening, reading, taking long walks: it feels far from the maddening crowd. I feel very fortunate: my only concerns are whether or not the gardens are getting enough water, both in Salem and York, and what’s happening in our evolving kitchen renovation in the former—thankfully my working husband is managing that, and he’s probably seeing to the garden as well. That’s just a small pocket garden so not too much time or effort: here we have gardens spread out over a much larger area so it’s a bigger task, but still a pleasurable one. This is context for my post today, which is not going to be the product of rather of deep thought or research, but rather simply existing in a beautiful place: flowers and houses shot while gardening (indirectly) and walking. My father and I were driving to the dump with all of our lawn and garden refuse last when we came upon a field of lupines, the perfect (with roses) June flower. What a gift: so I thought I would share it here. This is the way lupines are supposed to look, not one or two or three or even fifteen in a cultivated garden, but a field:
Lupines in a field on Route 91 in York, Maine.
More eye candy: some of my favorite houses on my favorite street in York, Lindsay Road. This is a way that runs from the center of York Village to the river, and though it’s not going to be apparent from my pictures, there is in fact some architectural diversity on this old street: there are “colonials”, old and new, a perfect Federal, a Greek Revival or two, some modern “country club” houses (as the golf club of the York Golf and Tennis club is adjacent, and even a bungalow. It’s a great street, ending up (if you’re coming from the Village), at John Hancock’s Wharf and Marshall’s Store.
Obviously statues have been in the news of late, so I thought I would tap into the national (and international) focus by looking at some of our country’s more notable monuments to women, either striving for the franchise or striving in general, for this week’s #salemsuffragesaturday post. It doesn’t matter what your political inclination is, everyone seems to agree that there are not enough statues of women anywhere and everywhere, and corrective measures are being taken, along with initiatives associated with this Suffrage Centennial year. The husband and wife team who constitute StatuesforEquality have established that statues of women represent less than 10% of public monuments in several American cities, and far less in most. In Salem we have only one statue to a woman: Samantha Stevens from Bewitched, situated in our city’s most historic square. She never accomplished anything (because she never actually existed) and her prominent situation and whimsical depiction mocks the real victims of the 1692 trials who were falsely branded “witches”, but nonetheless she is deemed worthy of monumental representation in Witch City. There are so many more women (real women) that deserve to be put a pedestal in Salem—that’s what this year has been all about for me.
Let’s turn to some more serious representations. Ever since it’s installation 15 years or so ago, the BostonWomen’s Memorial has been one of my favorite monuments: not only is it aesthetically pleasing and immediately engaging, but it represents a spectrum of women who shaped Boston’s history (as well as that of Massachusetts and the nation): Abigail Adams, Phillis Wheatley, and Lucy Stone. These women are not just on pedestals (actually they have come off their pedestals) but depicted by sculptor Meredith Bergmann in the process of thought and activity, with their words accompanying them. Monumental women are in large part, active women, the feminine counterpart of all those masculine equestrian statues.
The Boston Women’s Memorial by Meredith Bergmann; photographs from her website.
Meredith Bergmann was also commissioned to create the most anticipated installation of this Suffrage Centennial Year: the Women’s Rights Pioneers Statue in Central Park in New York City, which will be unveiled on August 26, the date on which the ratification of the 19th Amendment was certified in 1920. This will be the park’s first statue honoring real women, and it also focuses on their activity: Sojourner Truth, Susan B. Anthony, and Elizabeth Cady Stanton are gathered around a table, intently focused on drafting a document. The statue had a controversial conception in that Truth was originally excluded, but public discussion and debate resulted in a more inclusive—and representative—monument.
Model and Mock-up of the first and final monument to the Women’s Rights Pioneers by Sculptor Meredith Bergmann, to be unveiled in Central Park on August 26, 2020.
As the state which ultimately ratified the 19th Amendment in August of 1920, Tennessee takes its suffragist history very seriously and has produced two notable monuments to the women who worked so hard to make it happen (because it’s really not all about a wavering state senator is it?) There is the Tennessee Woman’s Suffrage Memorial (2006) in Knoxville, depicting Lizzie Crozier French, Anne Dallas Dudley, and Elizabeth Avery Meriwether, and the Tennessee Woman Suffrage Monument (2016) in Nashville’s Centennial Park, featuring Dudley along with Abby Crawford Milton, J. Frankie Pierce, Sue Shelton White and Carrie Chapman Catt. Even more recently, the Commonwealth of Virginia—always the site of so much statue furor—dramatically increased its commemorative depictions of accomplished women with its Virginia Women’s Monument: Voices from the Garden initiative, honoring the “full scope” of women’s achievements with twelve representative statues.
The Knoxville and Nashville Suffrage statues—both by Tennessee sculptor Alan LeQuire—and the unveiling of seven statues of prominent Virginia women last fall: former Virginia First Lady Susan Allen points to a statue of Elizabeth Keckley, dressmaker for Mary Todd Lincoln, and suffragist Adele Clark among the crowds (Bob Brown/ Richmond Times-Dispatch).
I like the fact that so many of these monuments are collective, featuring women engaged with each other. Sometimes they are working, sometimes they are simply “conversing”—or meeting for the first time like one of the most famous Suffragist monuments, the “When (Susan B.) Anthony met (Elizabeth Cady) Stanton” statue in Seneca Falls, New York, portraying the moment when these two icons were introduced by Amelia Jenks Bloomer in 1851. My very favorite “conversation piece” is the lovely statue of two prominent Rochester, New York suffragists, Anthony and Frederick Douglass, having a cup of tea: I would love to have been a fly on the wall (or the bench) for that conversation!
The Anthony-Stanton-Bloomer statue (1998) by Ted Aub in Seneca Falls; Ira Srole’s “Let’s Have Tea” (2009) in Rochester.
The most official Suffrage statue of all, Adelaide Johnson’s “Portrait” monument to Anthony, Stanton, and Lucretia Mott completed (and dedicated) in 1921, is also a collective representation but the women don’t seem particularly engaged with each other: it’s not my favorite statue but that doesn’t mean I think it should have been hiddenaway for most of the twentieth century! The “unfinished” appearance of the work also engulfs the women in their “pedestal” rather than placing them on it, but rumor has it that Johnson was making room for at least one more prominent woman—perhaps the first female president—to be carved out of that raw marble in the back at some point in time. Clearly not 2020.
After a pandemic—or in the midst of one? Obviously the answer is very carefully. I grew up in a summer tourist town, York, Maine, and have lived in a seasonal–going on all-year tourist town, Salem, Massachusetts, for several decades, so the question is very interesting to me, and obviously far more than interesting to the residents and business owners of both communities. I’m in York now, so I thought I would start with some observations of what is going on here, and then follow up with Salem (whose many restaurants started opening up yesterday—in the streets) when I return in a few weeks. The policy in Maine is self-quarantine for two weeks for all people coming from outside: I am following that policy I believe: I came up with two weeks’ worth of groceries and supplies and am going to no public places, with the exception of parks and walkways near our home which are open. Self-quarantining in Massachusetts allowed daily exercise as well as essential shopping, so I was assuming that the former is allowed here: I found some contradictory information, but if I am the wrong let me know, Maine authorities! I stay far away from everyone on my daily walks and wear my mask at all times. We have the perfect situation here, as we have a big family house where my husband, stepson and I are staying, and my parents–who are Maine residents—are in their condominium less than a mile away. So if we run out of anything they can go and get it for us! The one time I was walking in rather public place, with my Maine parents and mask on, they insisted on going to the walk-in counter of Rick’s All-Season Restaurant for Bloody Mary’s: I stayed far away from the window and we imbibed at home. There is an ice-cream take-out window in Salem, but I don’t know if we have a Bloody Mary one—-yet.
The Take-Out Window at Rick’s Restaurant in York Village
I was quite accustomed to seeing masks on the streets of Salem as well as inside public places: here in Maine there seems to be less mask-wearing outside, but as I haven’t been inside anywhere but our home I’m not sure what’s going on there. Obviously Maine is a much larger state than Massachusetts with a much smaller population, so there is less concern about population density: in York the population typically swells in the summer, but with this two-week self-quarantine policy in effect I would guess that this would not be the case this summer. That is the pressure point. York is a really large town, geographically, with a lot of public outdoor space: three major beaches, a mountain with trails, parks, ponds, pathways—lots of room for social distancing. The beaches are open for active use: no sunbathing, but walking, swimming, fishing are allowed. In York Harbor, where we live, there are two coastal paths: the Cliff Walk and the Fisherman’s Walk. I grew up walking on the former in four seasons: but there have been some access issues over the past decade or so, and the owner of one abutting property has built a fence to block pedestrian access to part of the walk. It has been Covid-closed, but the nearby Fisherman’s Walk is open so that is where I will be taking most of my harbor walks. As you can see, it’s lovely, and very uncrowded: we’ll see what happens as June progresses.
Fisherman’s Walk, York Harbor, Maine, with a new house (next-to-last photo) rising over the Harbor.
Sorry I’m a bit late today with my #SalemSuffrageSaturday post: I’ve migrated up to Maine for several weeks and the wifi situation is a bit challenging! But I think I have it together now. I’m going to move into some national suffrage history for a few weeks and then go back to the parochial, because the long-term suffrage movement was successful ultimately because it operated at several levels: the national and the local, the exterior and the interior. I have been continually impressed, as I studied this movement this year, at how adept the marketing was, with every concern taken into consideration: messaging, branding. graphics, audience. Lately I’ve been reading some wonderful suffrage cookbooks, which in many ways were the perfect venue for the Suffrage message: not too radical, traditional really, but also containing themes of practicality, self-sufficiency, and above all, femininity. The first Suffragist cookbook,the Woman Suffrage Cookery Books, was edited and published by Mrs. Hattie Burr of Boston in 1886 with exactly that message in its forward: Alarmists of both sexes will shrink back abashed before this cook-book, for at least two recipes, which she has tested with success, will be given over the signature of each fair suffragist who contributes to its pages. It will be a confession book, a proof that, even if they wish to vote, the suffragists cherish a feminine interest in culinary matters.
First and Second Editions of Mrs. Hattie Burr’s Woman Suffrage Cookbook, 1886 & 1890: you can read the text here.
Indeed there was nothing at all alarming about this cookbook: no radical recipes! In addition to recipes for everything from soup to nuts, there are sections on the care and feeding of invalids and helpful household hints, followed by “Eminent Opinions on Woman Suffrage” (starting with Plato!) only at the very end: an appendix. I think the relative banality of this book must have helped the cause considerably, and it certainly inspired regional editions as well as the first British Suffrage cookbook in 1912. I also think it inspired valuable support, in the form of advertising, from commercial food producers, such as Fleishmann’s Yeast (referenced in several of the recipes) and Kellogg’s Cereals. All in all, it seems like the cookbook was a very nourishing genre for the Suffrage movement.
Suffrage cookbooks from Washington State (1908), western Pennsylvania (1915) and the UK (1912), from the Ann Lewis Women’s Suffrage Collection. Fleischmann’s Yeast and Kellogg’s advertisements from the 1890s and 1914. I bet that Laura Kumin’s All Stirred Up, which will be published in August, will have lots more details about the publication and impact of these cookbooks.
I feel a bit selfish and indulgent featuring my garden during this troubling and tumultuous week, but I really don’t have anything else to offer. My dear readers and followers seemed to like last week’s garden post, and though I am no Marianne Majerus or Stacy Bass, it’s almost impossible to take a bad photograph of some flowers, like my beloved Trillium and Lady’s Slippers, both “out” this week! Our big kitchen demolition/renovation is starting very soon and there will likely put a lot of sawdust in this adjacent garden, so it’s the last we’ll see of it for some time. I’ll miss my garden this summer, but I’m off to our family house in Maine, where my father want to put in a new garden, so that project will be somewhat compensatory: soliciting all tips from Maine gardeners—-for a site with full sun but lots of ledge (we already have a rock garden).
Meanwhile, here’s my little city plot this past week:
It’s a bit wild but that’s how I like it—contained chaos. But I will say that the anemones are MONSTERS this year.
I’m sorry that the Lady’s Mantle hasn’t popped yet but I do have Lady’s Slippers to show you!
And flourishing ferns, trillium, and one of my very favorite plants, lungwort, which looks like this all summer long, not just at showstopper time.