Tag Archives: Architecture

Trimmings and Tidings

The streets of Salem at Christmas time, 2011:  a walk around the decorated city.  I was attracted to simplicity and creativity, two things that I’m going to strive for in the New Year.

Skates and a sweater on black doors, on and around Federal Street.

River Street always goes all out, for every season.

These two houses on Federal Street always look great.

It doesn’t really “pop” in my picture, but the juxtaposition of the tiny vintage Christmas figurines in the window of this Broad Street house with the rusty old piece of machinery was really neat.

Minimal decoration, but I love these carriage houses.  The top one belongs to the Pickering House on Broad Street; the bottom one, just off the Common, has been recently restored.

Adorable window at the Mighty Aphrodite, a maternity consignment shop on Essex Street.  Green and red maternity dresses and a snowy, sparkly baby.

Glad Tidings to everyone this holiday season.


Juleneg

I don’t have a drop of Scandinavian blood in my veins, but I really love the northern European custom of Juleneg, in which a wheat sheaf is attached to a roof gable or adjacent pole or tree at Christmas time.  Elves or fairies are often pictured affixing these “Christmas bundles”– holiday feasts for the birds.  The wheat sheaf is so symbolic; for us it tends to symbolize the harvest, but it can also represent sustenance through the winter and hope fulfilled:  what better Christmas message?  I think we should adopt the Juleneg custom, especially here in Salem, where wheat sheaves have the additional connection to Samuel McIntire, the architect of our beautiful Federal city.

Wheat Sheaves for Christmas:  a Juleneg card from 1911, a McIntire mantle and pin from the PEM shop, the cover of a Federal-era snuffbox, and proofs for chromolithographic Christmas cards from Prang of Boston, 1880s (New York Public Library Digital Gallery).


Scenes from the Tour

Unseasonably warm weather and enticing houses created crowds in my neighborhood this past weekend, as the 32nd annual Christmas in Salem holiday house tour transpired.  I took a short walk along most of the tour route in the virtual footsteps of Boston (and Salem) architect William G. Rantoul (1867-1949), whose work was showcased on this year’s tour.

This Federal house was Rantoul’s residence from 1907 to 1939.  According to Bryant F. Tolles’ Architecture in Salem, he added the entry himself, based on the period design of that of the house two doors down.  The colonial and Federal houses of Salem must have been a constant source of inspiration for Rantoul, who worked primarily in the Colonial Revival style.  The Christmas in Salem Committee placed these red flags on sites associated with Rantoul.

Lines on either side of Chestnut Street.  Around the time of World War One, Rantoul made significant additions and alterations to the Phillips House (above), which is now owned by Historic New England.

This great gambrel-roofed house at the end of Chestnut Street appears to be Georgian but is in fact the newest house on the street, built in 1909 by Rantoul for philanthropist Caroline Emmerton.  It is an adaptation of the eighteenth-century Richard Derby House on Derby Street.

Walking, walking…the top house has nothing to do with Rantoul and was not on this year’s tour, but is great nonetheless and this particular shot shows how fall-like the weekend was.

Rantoul’s major institutional commission in Salem:  the Salem Athenaeum, built in 1907, this weekend and in a 1910 postcard.

A great triple house designed by Rantoul and built in 1918 after the great Salem Fire . The decorated entrance, and 1918 Christmas cards displayed on a 1918 mantle.


Christmas in Salem

It is not Christmas in Salem yet, but this coming weekend marks the Christmas in Salem holiday house tour, now in its 32nd year.  It’s hard to be objective when it comes to Salem, but I do believe that this is the best seasonal tour in our region.  Christmas in Salem, which is sponsored by Salem’s venerable preservation organization Historic Salem, Inc.,  always includes a mixture of private homes and public buildings, all decorated for the holidays by local floral designers.  It is designed to be a walking tour, focused on a particular neighborhood:  the Common, North Salem, Derby Street, Chestnut Street.  This year’s tour has a dual focus:  “Rediscover the McIntire District”, which means it will be occurring right in my own neighborhood, and the colonial revival architecture of  Boston architect William G. Rantoul (1867-1947).

The tour of 13 buildings, several of which are associated with Rantoul, will be held this coming Saturday, December 3rd, and Sunday, December 4th, with a special candlelight tour of 4 buildings on Friday evening.  You can still get tickets online  for the next day or so, but also at select locations around Salem this weekend.  All the information you need about the tour and other holiday events in Salem is at the dedicated website.  It doesn’t look like snow is in the forecast (a dusting would be nice), but the snow date is December 10th.  The proceeds from the Christmas in Salem tour will be used for the ongoing restoration of Historic Salem’s headquarters, the Nathaniel Bowditch (Curwen) House on North Street.

Slightly embellished versions of an illustration from Sidney Perley’s History of Salem (1924), above, and Frank Cousin’s circa 1900 photograph of the Curwen House, below.


Wilderstein

I spent the last beautiful day of my Hudson River Valley Thanksgiving weekend visiting some of the region’s grand estates:  the Vanderbilt Mansion, Clermont, Olana and Wilderstein, all within a hour’s drive of one another. These are just a few representatives of the area’s rich legacy of past wealth and present preservation. Having been on the boards of historic structures here in Salem for the past couple of decades, I am very aware of the immensity of collective effort (and the piles of cash) it takes to preserve just one property; I can’t imagine how the Hudson River Valley community manages to maintain so many.

The Wilderstein estate in Rhinebeck  is referred to as the “stepchild” of the Hudson River Valley mansions in a 2007 article in the New York Times because it was the last to be transferred from the family that built it—the Suckley family, cousins to the venerable Livingstons who seem to be the foundation of all the great families of the Valley–to trusteeship.  The fact that the Suckleys ran out of money about 80 years before this transfer occurred in 1991 created a considerable preservation challenge for the non-profit organization that runs the mansion today.  When I first visited the house about a decade ago, it was a dreary dark brown, having received its last paint job in 1910 with very “good paint” according to the recorded remembrances of its most famous, and last, resident, Margaret “Daisy” Suckley, some 70 years later.  Miss Suckley was the very close friend, correspondent and confidant of her sixth cousin, Franklin Delano Roosevelt, who lived right down the road in Hyde Park when he wasn’t in the White House.  It was she who gave him the famous dog Fala, namesake of one of Wilderstein’s most popular annual fundraising events, the “Fala Gala”.

A lot of improvements have been made to the exterior of the house in the 20 years following Miss Suckley’s death, the most striking of which are shingle and siding repairs and the return of the original polychrome paint scheme.  The mansion is an elaborate Queen Anne confection, complete with a five-story tower, and it demands bright, contrasting colors!  You can see the dramatic change in the house’s appearance from the images below in which my photographs from yesterday are followed by those of HABS photographer Mark Zeek, taken in 1979.  I approached the house from the woods below, so it was neat to see that looming bright tower, followed by the gradual appearance of the entire facade.

The dramatic appearance of the Wilderstein mansion is accentuated by its situation, on a bluff overlooking the Hudson River, and its surrounding grounds, designed by Calvert Vaux.  On these same grounds, close to the river’s edge, is the estate’s carriage house/garage.  As you can see from the photographs below, including mine (sepia and color detail) from yesterday interspersed with the HABS images from 1979, this building has been in decline for some time.  Another great challenge for the overseers of Wilderstein, but I have no doubt that they are up to it.

Addendum:  a still image from the upcoming film (summer of 2012) Hyde Park on Hudson, starring Laura Linney as Daisy Suckley and Bill Murray (!!!!!) as FDR.


Way out West

My whole family is out at my brother’s house in Rhinebeck, New York, not very far west at all really, but clearly beyond the known world according to the satirical (but often accurate) Boston-centric map below.

Not sure how to attribute this map; it shows up in several places and I don’t know whose original idea it is:  step forward if it’s yours!

I always orient myself to locations through architecture, and I thought I’d showcase some “western” examples of some of my favorite Salem houses.  In a post from a couple of weeks ago, the Down East Dilletante reminded me of Santarella, an amazing house deep in the “land of dragons”, and so I thought I would visit it on the way to New York.  I have a distant memory of seeing this house long ago but had forgotten how charming it is:  the ultra “storybook” house, built in the Berkshire village of Tyringham in the 1920s by British sculptor Henry Hudson Kitson.  I wrote about Salem’s storybook house in a post from last winter, and I can see a basic similarity in the structures with their rolling thatch-like roofs, but Santarella clearly lifts the fantasy style to a whole new level.  I took these pictures on the cold and wet day before Thanksgiving, but somehow the weather heightens the “gingerbread” quality of what is essentially an elaborate asphalt roof.

Santarella from the front and its rear towers; Salem’s more restrained storybook house.

Even beyond the land of dragons is Rhinebeck, an old Dutch colonial town in the middle of the Hudson River Valley.  Rhinebeck is a beautiful little village of streets lined with amazing houses which are always striking to me for their decidedly non-New England details.  I’ll show some of my favorites in a later post but for today, just one.  My brother and his partner have a full house for the holidays, so my family and I are staying in the village at the Beekman Arms, one of the oldest inns in America.  Actually we’re staying down the street a bit at the Delamater Inn houses annex of the Beekman, centered around Andrew Jackson Davis’s 1844 Delamater House, built in the universal (or at least American) Gothic Revival (or Carpenter’s Gothic) style that transcended regional architectural designs.

The main building of the Beekman Arms, Delamater House (1844), and the Brooks House in Salem (1851), based on a design of Andrew Jackson Downing.


A Last Spread of Color

Just a short post today with some pictures of a pretty house that deserves a showing!  I was cleaning up my picture files and noticed that I had not published images of a colorful Victorian house off Lafayette Street, not too far from Salem Harbor and Salem State University.  These shots were taken about a month ago–definitely well into fall, but before the late October snowstorm.  This is a beautifully maintained property and the colors are perfect for this time of year: a dark orange/persimmon with red accents and greenish taupe trim.  It’s a painted lady situated on a sunny corner lot, and the juxtaposition of house, carriage house and garden seems perfectly aligned to me.  As you can see, a month ago the colorful garden was still in bloom.

Not so yesterday.  The garden has been laid to rest, but the house is still beautiful and bright, and ready for the holidays.


Fall for Salem

I love November: the absence of Halloween crowds and traffic, the turning leaves, the chilly (but not freezing) weather, and above all, the light.  It’s a nice time on the academic calendar that directs my life (between midterms and finals) and it has a relatively no-pressure holiday at its end.  With the exception of the late October storm, we’ve had a beautiful fall, and when I took a walk yesterday I was in short sleeves.  It might have been the last warm day of 2011, but who knows with this changing climate?  Here are some photographs taken on a particularly golden November day (Election Day) in Salem:

An ivy-covered house turned red, along with a beautiful doorway, both on Chestnut Street.

Bittersweet trim and some of my favorite houses on and around Federal Street.

The Japanese garden at the Peabody Essex Museum (which just announced a $200 million expansion after an extremely successful fundraising campaign), the Common and one of its inhabitants.

Looking out at the Harbor, light and color between Derby and Essex Streets.


Three Towers

One last “global” past and then I’ll get back to the streets of Salem, which are much more quiet now that Halloween is over.  While in New York last weekend, I took a photograph of an amazing etching in my brother and brother-in-law’s apartment, an etching that they bought nearly ten years ago while we were all on vacation in San Miguel de Allende, Mexico.  I was present at the “moment of purchase” and remember the event very clearly:  we pulled the image out of a folder in a small gallery in the center of the city and were immediately taken with it:  “El Mas Alla”, by the Mexican printmaker Nicolas De Jesus, was a striking image then and remains so now. (The photographs are not perfect because the flash reflected off the glass, but I think you can still grasp the urgency of the piece).

Bear in mind, when we first saw this hand-colored etching it was less than six months after September 11, so the image of the terrorists in the cockpit bearing down on the twin towers made us catch our collective breath, literally.  For me, the additional/traditional Day of the Dead imagery only intensifies its message by mixing past and present, always a powerful combination!  Nicolas De Jesus apparently specializes in this potent blend of current content and traditional motifs, as illustrated by another work on papel amates (bark paper):  Wake Up America.  More images of the artist’s work and a brief biographies are available here and here.

Ten years on, the Nicolas De Jesus etching in my brothers’ Brooklyn Heights apartment is all the more compelling because of its placement:  on a wall adjacent to a large casement window overlooking New York Harbor, the Statue of Liberty, and the rising One World Trade Center at Ground Zero, pictured below on the evening of September 10, 2011 and last weekend.


Peirce-Nichols without Paint

Last weekend the absolutely beautiful weather and the Halloween season combined to make Salem a very busy place.  There were crowds of people on the streets and sidewalks, even in the McIntire Historic District, away from the tacky witchcraft sites.  In the midst of it all was an oasis of peace and tranquility:  the Peirce-Nichols House on Federal Street.  To my untrained eye, this early McIntire house looks similar to the house I referenced in my last post; like the former Derby Mansion on Washington Street, it is a transitional Georgian/early Federal house (built in 1782) that received a high Federal makeover (1801) by the iconic Salem architect.  But fortunately for all, this house is still standing, owned and maintained by the Peabody Essex Museum since 1917.

The first thing you notice about the Peirce-Nichols house is not the house itself but its fence, topped with hand-carved wooden urns carved by McIntire and restored by Colonial Revival architect William G. Rantoul in the 1920s.  As I was walking by, dazed as usual by the urns, I noticed the gate was open and walked around back to take a few pictures of the terraced garden, which used to extend all the way to the North River, but shrank considerably (like the river) over the nineteenth century due to the infrastructure needs of the city.

The garden, though peaceful, really is a shadow of its former self so I spent more time in the courtyard between the house and the stables.  Outbuildings are interesting anyway, but as the house is being painted it was also a place and a time to examine the unveiled, unpainted work of McIntire.  Unlike the fence urns, the master architect probably didn’t carve the wide pilasters himself, but looking at their scraped surfaces was an engaging way to take in a rather imposing house.

The photographs: a stable door, looking back at the house through the garden and stables, the back of the house, and unpainted details.

Front facade:  the  Peirce-Nichols House in  a 1920s “City” Maynard Workshop postcard.