Portsmouth always struck me as a Georgian town, even from a young age, when I first developed an appreciation for historic houses at Strawbery Banke and first spotted what is still one of my very favorite houses nearby. There are Federal houses too, but it doesn’t feel as Federal as its sister seaports to the south, Newburyport and Salem. There is a range of Georgian houses in Portsmouth, from relatively simple to absolutely grand: on this past weekend I revisited three of the latter varieties: the Warner House (1716) the Moffatt-Ladd House (1763), and the Governor John Langdon House (1784). Each house has a different owner, and a different………style, but all are exquisite representations of their era. The combination of the entirety of their construction with all the crafted details within—including the wonderful Portsmouth furniture in each house—is hard to capture: you’ll just have to visit each one yourself.
The Warner House, owned and operated by the Warner House Association from the early 1930s, The Moffatt–Ladd House, owned and operated by the National Society of The Colonial Dames of America in the State of New Hampshire, and the Governor Langdon House, a property of Historic New England.
I loved the colors of the Warner House: rich jewel tones throughout. It’s not too pristine: you do get the feeling that you are imposing on the past (although there is quite a lot of plastic fruit). Those wild murals! The textures are wonderful too—especially of the smalted rooms upstairs. This is the oldest urban brick house in North America and it feels that way: both old and urban. You look out its windows and see a bustling city—this would not have been the case in the 1930s when it was rescued or even later: the Warner guide, like all the Portsmouth guides I encountered last weekend, stressed the fact that the city’s current vibrance contrasts with its more depreciated state in the 1970s—and I remember that to be the case.
Parlors and bedrooms at the Warner House, a scary squirrel, and always the threat of fire (the tool is to take apart your very valuable bed).
The Moffatt-Ladd House has been very much in the thick of things from its construction; once it faced the wharves of prosperous Portsmouth, but now the horse chestnut tree planted in 1776 by General William Whipple upon his return from signing the Declaration of Independence still stands guard at the entrance to its courtyard. It’s a very airy house inside due to its elevated situation as well as its large entrance parlor—and its beautiful rear parlor, now in the midst of restoration, runs parallel to the wonderful terraced garden outside.
Moffatt-Ladd parlors and stairs, front parlor original wallpaper and the parlor-in-process with its amazing mantle and Chinese Chippendale chairs; I always brake for fire buckets! The amazing garden.
I think Georgian houses have to be pre-revolutionary, but I’m the only one who thinks that, so I am including the Governor Langdon House, which was built the year after the American Revolution concluded. The scale is even larger here than Moffatt-Ladd, and the house reflects the passage of time, with Greek and Colonial Revival rooms as well as a dining room designed by Stanford White. It seems both national in inspiration but also very much a crafted Portsmouth house, as illustrated by those distinctive staircase balusters, contrasted below with those of Moffatt-Ladd (on the left).
Those Rococo mantles! And all that beautiful Portsmouth furniture. As you move back through the house, you move up in time, into Greek and Colonial Revival rooms.
While I was looking around for images of the houses in their earlier situations, I came across the works of two women artists among the digital collections of the Portsmouth Public Library: Sarah Haven Foster (1827-1900) and Helen Pearson (1870-1949). Both Portsmouth women clearly loved the architecture of their native city, and rendered it in series of charming vignettes, which were incorporated in their successive guidebooks. Wonderful discoveries: Foster’s naivete and Pearson’s detail both capture Portsmouth’s charm, past and (fortunately) present.
Vignettes by Sarah Haven Foster (the Warner House) and Helen Pearson (Warner, Moffatt-Ladd garden, Langdon doorway), Portsmouth Public Library Digitized Collections.
American Terrestrial Pocket Globe made in Wethersfield, CT, c. 1850. A pocket globe is surely better than a pocket atlas.
English Stumpwork Profile Portrait of King Charles I of England, 1646. How amazing is this—and there are more seventeenth-century lots in the MacKay/Field collection as well, including two more representations of King Charles I during the Civil War, or perhaps even after his execution! Royalist relics–from either side of the Atlantic.
Silk Needlework Picture of a Gentleman wearing a Tricorn Hat, c. 1770. I like this guy from the next century too.
Andre’s Journal: an Authentic Record of the Movements and Engagements of the British Army in America from June 1777 to November 1778 as recorded from day to day by Major John Andre,” Edited by Henry Cabot Lodge, Boston: The Bibliophile Society, 1903. This is a beautiful two-volume book which was limited to 487 copies for Bibliophile Society members: I continue to be fascinated by how fascinated Americans were (are?) with Major Andre!
Lady Liberty Standing on the Head of Great Britain underneath the Great Seal of the United States, American School, War of 1812. LOTS of War of 1812 items in this auction: this is my favorite.
The Frigate “Arbella” of Salem. American School, early 19th Century. I guess I have to have a Salem item–this is a lovely ink & watercolor painting of a ship with which I am not familiar: the original Arbella brough John Winthrop to Salem in 1630, but I don’t know anything about this Arbella. Only the Phillips Library can tell us, I’m sure!
The Young Sailor. American School, 4th quarter, 19th century, Mrs. Mary Ide Spencer/Artist. I just love this painting: I know it would make me happy every day if it were mine.
©Boston Athenaeum and Phillips Library, Timothy Ropes Papers (MSS 365).
The interior of the East India Marine Hall past and present, and before the installation of the PEM’s newest 
The Collections of the Essex Institute in the Phillips Library Reading Room, 1980, and the library collections reinstalled, 2008, 
And I really fear I’ll be too reliant on the detailed-yet-romantic work of Maine-born architect Frank E. Wallis, whose reverence for Salem is all too apparent! Plates from Frank E. Wallis, 
“Red Man” with “All Power to the Soviets” banner, Mikhail Adamovich and Maria Kirillova, 1921; “Red Genius” with the slogan “We will Emblazon the World with the Third International”, Alisa Golenkina, 1920.
“The Star”, Mikhail Adamovich, 1921; “Large Star with Sheaf “, Nina Zander, Sergey Chekhonin and L.Vychegzhanin, 1921; “Who Does Not Work, Neither Will He Eat”, Maria Lebedeva, 1920.
Portholes and eyes at the PEM.
Just a few items from Ocean Liners, which also includes some amazing ship models of which I don’t seem to be able to take a good photograph. Stanley Spencer’s Shipbuilders on the Clyde: Riveters (1941) is amazing! The panel from the Titanic’s sister ship Olympic is displayed in full majesty, altar-style, in the midst of renderings from other pre-World War I ships–this was an era in which the interiors were certainly not streamlined. I never knew there was Titanic “recreation diorama” for tourists just a couple of years after the disaster! This Fred Spear Enlist poster from 1915, showing victims of the Lusitania sinking, really stopped me in my tracks–the last image is from the Library of Congress. 
My favorite posters from It’s Alive, on either side of some very atmospheric wallpaper.
The house in 1904, Cambridge Historical Society; Barretts remain on the walls.
The Honorable David Mason Little, and a Boston Globe article dated July 17, 1904, shortly after his appointment as Salem’s last Collector of the Custom House.
Cover and plates from Little’s Instantaneous Marine Studies (1883), a Little silver 
