An amazing weekend in Salem, for the city, objectively and collectively, and for me, personally. I’m writing at the end of a long day, which will be yesterday, during which I gave a morning presentation on the Remond Family of Salem, an African-American family who operated many successful businesses in the mid-nineteenth century while simultaneously supporting every social justice cause it was possible to support (which were many) next door at Hamilton Hall, and then made my way to the long-heralded opening of the new wing of the Peabody Essex Museum. Both were really important events for me: I’ve been focused on the Remonds since I moved next door to Hamilton Hall, and in attendance at my talk was George Ford from California, a Remond descendant who is so dedicated to his family’s story and memory that he just want to be where they were. And except for a few professional events I had to attend at the Peabody Essex, I have not visited the museum since December of 2017, when the non-announcement was made that its Phillips Library, encompassing the majority of Salem’s written history, would be removed to a new Collection Center in Rowley, Massachusetts. Over time I realized that I was only hurting myself, as the Peabody Essex is indeed a treasure house, and the historical references of new Director Brian Kennedy and media reviews of the new wing and the #newpem infused me with hope, and so I was excited to return, but also a bit anxious. (There was also a big food truck festival in Salem but don’t expect me to report on that!)
The Remonds in the morning, and the new PEM Wing in the afternoon!
As exasperated as I can often get with Salem, you must know that it is an entirely engaging city and place to live, always, but this weekend was particularly intense. If the famous PEM neuroscientist Dr. Tedi Asher had affixed monitoring devices to me I would have given her readings off the charts, I am sure! I was nervous about going into an institution which I have been so critical of over these past few years–not to exaggerate my influence, it was just an internal feeling. I have friends and acquaintances who work at the museum and it never felt good to criticize the place where they worked. Everything seems different now, with the new Director, Brian Kennedy, acknowledging Salem, community, founders, even slavery (i.e. historical realities rather than cultural idealizations, and potential engagement or even interest in historical interpretation!) with every passing press report. Expectations can make you anxious too though, and I was anxious to see what role the new dedicated Phillips Library gallery in the new wing would play, as an expression of priorities, as an indication of respect for the old (dry) texts which always require a bit more effort to make them shine. So here I go into the PEM, heading straight for the new wing, with all of my anxieties and expectations. What do I see first?
A wall! And an amazing N.C. Wyeth mural titled Peace, Commerce, Prosperity–both of which I loved. Before I looked at anything, I was struck by that wall: the side of the East India Marine Hall which I had never really seen; it must have been alongside the former Japanese garden but I never noticed it for some reason. Maybe I was just focused in my mind on the back wall of Hamilton Hall which borders my own garden, which I stare at all the time and think of the Remonds working on the other side, but all I could see when I entered the new wing was this wall. It might also have been my admiration for the Georgian Pickman House, which formerly stood in the same spot I was standing in—-maybe I was trying to conjure up its orientation—but for whatever reason, I stood staring at that wall for quite some time. (Yes, Salem’s history is weighing on me, just a bit). Then I snapped out of it, spent some time looking at the lovely Wyeth mural, and moved into the new Maritime gallery, where I was caught. There’s no other word for it, caught. I was transfixed by everything, and as soon as I got to the trio of paintings of ships in various stages of “tragedy and loss” by the Salem deaf-mute artist George Ropes, I realized that I wanted–or needed– to come back to this very intimate gallery every day, or as often as possible. Such a clever installation with its angled walls, ensuring that you discover something new around every corner, and everything so very evocative of the perils and promise of the sea. And such a thoughtful mix of old exhibits and new, including the venerable glass-encased ships’ models we can see in all the old photographs of the Peabody Museum. I saw many things that I had only seen in pictures before, but also “old friends”. There were texts, not just paintings and objects. Stunning, substantive, respectful: I was very impressed.
The treasures of the new Maritime Gallery: the George Ropes paintings are STUNNING; I can’t possibly capture their beauty here. Lovely to see many East India Marine Co. artifacts plus texts and sketchbooks; Ange-Joseph Antoine Roux, Ship America at Marseille, 1806; a reverse glass painting by Carolus Cornelius Weytz, c. 1870; Ship Models and dashing Salem Sea Captains John Carnes and Benjamin Carpenter by William Verstille; Vases by Pierre Louis Dagoty, c. 1817.
The Asian Export Gallery on the second floor of the new wing was extremely well-designed as well, with an entrance “foyer” covered entirely in c. 1800 Chinese wallpaper from a Scottish castle showing us just how cherished, and integrated, products from Asia were in the west. This opened up into a spacious gallery, providing a vista for what can only be called a “Great Wall of China”! This space was delightful aesthetically, but it was also a teacher’s toolbox for me: all of our introductory history courses are focused on global connections and trade, so I was able to photograph about three PowerPoint’s worth of photographs, for which I am very grateful. Then it was upstairs to the new wing’s third floor, where Fashion and Design reigned—particularly the former, so many mannequins. I have to say that compared to the other two galleries, this one left me cold, but I’m sure that I’m in a minority as it was the most crowded space of my afternoon. We all respond to different materials in different ways of course, but I was struck by the contrast of the rather “old-fashioned” display of Iris Apfel’s ensembles with the modernity of the actual clothing: draped sheets à la eighteenth century with bespectacled mannequins in front? To me it looked inartful, kind of like a throwaway installation, but maybe I’m supposed to notice the juxtaposition? I’m not sure: there were just too many mannequins—it was a crowd for me. There was a readily apparent flow, or connection, between the objects in the Maritime and Asian Export galleries below, but here I could not link the fashion and non-fashion items into any semblance of a story. But again: it was crowded, so I’ll have to go back and try again.
Perfect place to text, no? LOVED this painting of Two English Boys in Asian Clothing, c. 1780 by Tilly Kettle, “the first prominent British artist to work extensively in India”; the “Great Wall” in its partial entirety and detail; the Fashion and Design gallery on the third floor of the new wing.
By this time, I was running out of time (chiefly because I spent so much time in Maritime World) but I wanted to see how some older spaces were impacted by the addition of the new wing—namely the adjacent East India Marine Hall—as well as the heralded dedicated Phillips Library gallery. Here disappointment began to kick in, so read no further if you want a fluffy, disengaged appraisal: that’s not what I do here. The old hall, so stunning and so missed by me, was all dark, reduced to background for artist Charles Sandison’s digital projections of words and phrases from eighteenth- and nineteenth-century ship captains’ logs. I had seen this before, as PEM’s first “FreePort” installation a decade or so ago, so I was surprised to see it again. I really liked it before: it was definitely immersive. It was not what I wanted to see now; I was hungry for real words and texts after their authentic integration in the Maritime gallery and so these fleeting, ephemeral images felt fleeting and ephemeral. But this is a temporary installation so I’m not going to go on and on about it; I’m looking forward to what’s next for East India Marine Hall.
Charles Sandison: Figurehead 2.0.
On to the new Phillips Library dedicated gallery space! I was anxious, so maybe I wasn’t thinking clearly, but it actually took quite a while to find it. My very handy Visitor Map, which was handed out to everyone as we entered the PEM, indicated that it was right behind East India Marine Hall on the same floor, but because the circular staircase in the rear of the building was blocked off you couldn’t quite get there from where I was without going up, down and all around for some reason. Again, it might have been me, I was going by sheer sensation here, but the difficulty of access seemed to combine with the closet-like room I eventually found to give me a profound impression that the Peabody Essex Museum really didn’t want to showcase the collections of the Phillips Library. Here was an afterthought, thrown in behind the restrooms. I hate to rain on this parade, but that is what I felt. The “Creative Legacy of Hawthorne” exhibit seemed uninspired to me as well, but to be honest, I couldn’t really take it in, I was so disappointed by this sad space. I’ll have to go back and look at it again, if I can muster the willpower. I know that the new Phillips Librarian is happy to have this space, and I’m sure he and his staff will do as much with it as they possibly can, but there’s no way that I can say that it was anything other than a great disappointment to me, right now. The contrast between this disposable space, and all of the wonderful, powerful, thoughtful and spacious galleries I had just seen was almost unbearable: I just had to walk away. There was a large panel which gave a brief history and description of the Library and an introduction to its new reading room in Rowley which I couldn’t quite capture with my camera so I made a collage of different sections: there was no filter with tears, “broken” and “recoil” didn’t look quite right, so I settled for worn.
Well let’s try to end on a high note, shall we? No one likes a killjoy. The whole opening of the new wing was handled wonderfully by the curators and staff of the PEM: everyone was on hand, all weekend long, to help, and guide, and answer questions. The Visitor Map (and these cute buttons for all of the new galleries, except, of course, for the Phillips Library) is great. There was a wonderful spirit about the place. Not only is the new wing impressive architecturally: it offers some interesting views of Salem from its upper stories. The new garden is a thoughtful space: I’m looking forward to seeing how the plant material fills in. It was good to be back in the Peabody Essex Museum after my long absence. Salem’s mayor, Kimberley Driscoll, shared her reactions to the opening of the new wing on social media and someone forwarded her post to me. She was clearly as excited as the rest of us and why not: it was, again, a big weekend for Salem. Mayor Driscoll wrote that As we enter these doors we’ll know more about 16-year old sea captains who sailed around the globe and brought back treasures and trinkets to their hometown. Humankind is amazing when it comes to rising up to challenges. We tell those accounts, see those treasures, wonder what it was like and how it came about, marvel at the possibilities….we do all that here. In this space. In our city. Yes in our city, in Salem: but we can’t tell those accounts if we don’t have our history: trinkets and treasures are not enough. And we don’t have to wonder, we could actually learn and know, if we had our history, but we don’t: it’s not here, in our city, in Salem.
The Phillips Library Gallery is #206 on the Visitor Map + adorable buttons; the new garden; view from the third floor of the new wing.
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Embroidery by the book and bursting outside of the book—and the frame— by Peruvian artist Ana Teresa Barboza.
My favorite pre-restoration print of the House of the Seven Gables, 1889; prints by two women artists—Mary Jane Derby (North Salem) & Ellen Day Hale (Corner of Summer, Norman, and Chestnut Streets, where now we have a traffic circle!)–and pioneering lithography firms from the Boston Athenaeum’s Digital 
Prints of the James Emerton Pharmacy in the Phillips Library of the Peabody Essex Museum and the Salem Directory; Seccomb Oil Works billhead, Salem State Archives and Special 
Illustrations of Salem architecture from Here and There in New England and Canada, The Georgian Period, and Houses in America.
The Old Farmhouse; The Edge of the Lake; This Old House.
View of Tiegem in Winter, c. 1935, Christie’s; Winter Landscape, c. 1920, Mutual Art; Edward Munch, Winter Landscape, c. 1898, Museum of Fine Arts, Boston; Cuno Amiet, Winter House.
The Sensational Sidney brothers as boys: Sir Philip and Sir Robert, from a painting by Mark Garrard at the Sidney’s ancestral home Penshurst Palace, Kent.
Sir Philip Sidney, 1577-78, courtesy the Marquess of Bath, Longleat House; A trio of Sidney copied portraits from the sixteenth, eighteenth, and twentieth centuries: National Portrait Gallery, London; an 18th century copy, NPG, London, and a 20th century version attributed to Frederick Hawkesworth Sinclair, Pembroke College, Oxford University.
Sir Philip Sidney, early 17th century, National Trust @Knole; by John de Critz the Elder, c. 1620; by John de Critz the Elder, 17th century; by George Knapton, 1739.
See what I mean about the weather? But Kappel’s Ropes Mansion and Witch House hint at brighter and warmer days, even with no color!
The Custom House (which is celebrating its 200th anniversary this year) Derby Wharf Lighthouse, The Little Studio (just above the compass star)–where both Philip Little and Philip Kappel worked, in different seasons—and the House of the Seven Gables.
Chestnut Street
