Tag Archives: Historic Interiors

At the Eustis Estate

Nestled between busy Boston, Quincy, and Route 128, the town of Milton, Massachusetts still wears signs of its pastoral past. It’s an original streetcar suburb, but the Blue Hills drew prosperous Brahmins south to build country estates, and several are still standing, even thriving. Everywhere I go in the vicinity of Boston: north, west, south: I continue to be amazed at the legacy of nineteenth-century fortunes—and taste. Now it seems as if we still live amidst great wealth, but not so much taste. I drove down to Milton last week to see Historic New England’s latest acquisition, the Eustis Estate, where I spent all of my allotted time, but I could have also visited the Forbes House Museum or the Wakefield Estate. I did drive down Adams Street for a fleeting sight of the birthplace of President George H.W. Bush, but I was pretty focused on my singular destination: an amazing 1878 structure designed by the “Father of the Shingle Style”, William Ralph Emerson, set amidst subtly-shaped grounds designed by Ernest W. Bowditch.

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Historic New England has spared no expense or consideration in its restoration and interpretation of the Eustis Estate, which it acquired in 2012, after three generations of the family owned and inhabited the house. You can access their tour here–and you should if you really want a curatorial interpretation of the house because I’m just going to give you an impression: never have I been more conscious of my architectural naiveté as when I stepped foot into this house! My first–and strongest—impression is oddly one of contradiction: of the solidness of the exterior masonry and interior woodwork with the overall airiness of the house, accentuated by the three-story Grand Hall and all those windows framing outside views. You can see the frame of the house, and the house also serves as a frame for the landscape in which it sits. Inside, everything is a juxtaposition of dark and light, the light coming from outside but also from the burnished details within.

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Eustis Hall

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Eustis Window

As an Aesthetic structure, no surface is unembellished, and the architectural detail is almost overwhelming: I’m sure I overlooked many things and will have to return many times! The house’s many mantels are obvious focal points: the grand fireplace in the first-floor “living hall”, terra cotta masquerading as wood, is a symbolic tour-stopper. But everywhere there is detail to be considered: floor to ceiling and everywhere in between. I loved the coffered ceiling, the interior window shutters, the little “telephone cabinet”, the inter-connected pantries, the inter-connected bathroom, and the nursery rhyme tiles surrounding the nursery mantle. Just to mention a few details.

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EUSTIS FIREPLACES collage

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Eustis last collage

Eustis Last Detail

Wherever and whenever a considerable amount of money is spent in nineteenth-century Massachusetts, there is always a Salem connection, and that is the case with the Eustis Estate, which was built for young marrieds W.E.C. Eustis and Edith Hemenway Eustis on land given to them by Edith’s mother, Mary Tiletson Hemenway. Mrs. Hemenway was an energetic philanthropist whose activities were financed in great part by the wealth of her husband and Edith’s father, Salem-born Edward Augustus Holyoke Hemenway (1805-76). Mary herself had Salem roots, and the Hemenway Family Papers were deposited in the Phillips Library in Salem, which is of course now displaced to Rowley. The Hemenways’ stories are other stories, but also in part Salem stories. The estate’s landscape architect, Ernest Bowditch, represents another Salem connection as he was the grandson of the great Salem navigator Nathaniel Bowditch: and yes, the Bowditch Family Papers are also in the Phillips Library.

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Eustis Garden

Eustis Land

For another Emerson house: see this post. These photographs by Steve Rosenthal are all we have left of the Loring House, which was demolished in 2015.


Home, Hearth & History

I’m really looking forward to an upcoming exhibition at the Concord Museum: Fresh Goods: Shopping for Goods in a New England Town, 1750-1900, offered as part of a state-wide MASS Fashion collaborative project which will include a fall exhibition at the Massachusetts Historical Society guest-curated by my Salem State colleague Kimberly AlexanderFashioning the New England Family. I thought I had fashion fatigue, because there have been so many clothing-based exhibitions over the past few years, but these exhibitions look a bit different to me—there’s something more active and engaging about the words shopping and furnishing. Instead of just being wowed by the artifacts, we can learn how and why they came to be created and acquired, processes that involved not just cultural considerations, but also economic and social factors. If I were a curator, I think I would like to create a similar exhibition focusing on home furnishings, because that could offer up insights into so many crafts, industries, and distributors—especially over the nineteenth century as households were affected increasingly by market forces. Recapturing and representing colonial “hearths and homes” and “daily life” were Colonial Revival preoccupations over a century ago; I think we could do with a refresh–and an expanded chronological focus.

Home Furnishings BA 1869

373 Essex Street Joseph Ropes©Boston Athenaeum and Phillips Library, Timothy Ropes Papers (MSS 365).

I imagine there are two approaches to researching the history of household furnishing: presume by utilizing prescriptive materials like trade catalogs and books on contemporary home decoration, or establish through receipts, diaries, and accounts. There are certainly lots of collections of the former, at the Smithsonian, here, and the Winterthur Library, to name just a few sources. Individual household accounts are more decentralized, of course, and for Salem we would be quite dependant on the collections of the Phillips Library: the marvelous hand-drawn sketch by Joseph Ropes of his bedroom at 373 Essex Street above was included in a blog post published by the library which is no longer available, but I was so taken with it I snipped it right up, fortunately. Imagine researching the furnishing of just this one room: that odd stove, so many chairs, the textiles on the bedspread and chair? Wherever they end up, and hopefully digitized, all those family papers in the Phillips have such a wealth of information within—capable of tracing the history of decades of the China Trade and a single year in the material life of one Salem household. But until they see the light of day, we have some other sources: the Winterthur Library’s digital collection of ephemera will not enable me to source Joseph Ropes’ room, but it can give us a few glimpses into Salem’s material past.

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Home Furnishing Waters

Waters

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Home Funishings

A crate of Liverpool Ware for Mr. Nathaniel Burnham (?), 1801; perhaps a pattern such as this (Northeast Auctions)? Andirons and a Kettle for Captain John Waters and the Captain himself (Northeast Auctions); furniture for another Mr. Waters, 1861; 14 yards of black silk for Mr. Goodhue; pillow and furniture manufacturers in the 1880s, Winterthur Library.


Hamilton House

While I was up in York Harbor for the weekend I took the opportunity to visit Historic New England’s Hamilton House on Saturday afternoon while everyone else was at the beach. I’ve been on a historic-house museum kick this summer, and while I’ve been to Hamilton House (in neighboring South Berwick) before, it merits repeated visits if only for its setting and gardens. It’s the perfect Colonial/Colonial Revival House, built in the earlier period (c. 1785) by new money and “restored” with not-quite-old Boston money at the turn of the last century. In between, it was a working farm, with hay in the attic and tenants on the first floor. After it was acquired by Historic New England in 1946, it was returned to its original appearance on the exterior, but the Colonial Revival summer house interiors were retained.

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Hamilton House

Hamilton House Woodbury

Hamilton House today and in John Mead Howells’ classic Architectural Heritage of the Piscataqua (1937)+ a Charles Woodbury illustration of the house, the setting for Sarah Orne Jewett’s The Tory Lover (1901). South Berwick native Jewett apparently convinced her friends Emily and Elise Tyson (Vaughan) to buy the derelict house for their summer retreat. The Tysons had sold their former summer house in Pride’s Crossing, Massachusetts to Henry Clay Frick, who promptly knocked it down. 

Because it was a summer house, there’s more than a bit of incongruity between the furnishings and the architecture: the former is genteel “shabby chic”, early twentieth-century style, and the latter is quite grand, especially the large central hall. The straw matting running through the house contributes quite a bit to this rambling mix. While obviously I am a Philistine when it comes to the interior of Hamilton House, it is much appreciated by others, and was also quite influential in its own time, as explained in this great post over at the Down East Dilettante. I did appreciate how its interiors related to its setting, poised as it is over the Salmon Falls River with gardens, fields and forest also in view, and the rather charming Zuber-esque murals of Portsmouth artist George Fernald Porter.

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Hamilton Mural

Hamilton Dining

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First floor parlor, murals and dining room, and the requisite open hearth in the kitchen.

The summer furnishings also make the house feel very airy, particularly on the second floor. If the Tyson ladies found anything remotely Victorian in the house when they took possession, I am certain that it was banished immediately! As we ascended upstairs, we could see an exposed beam which was repurposed by the house’s builder, Captain Jonathan Hamilton: when he didn’t need it for one of his ships, it was used for his new house.

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Hamilton Pano

Hamilton House Windows

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Hamilton Dolls

Just three of Elise Tyson Vaughan’s vast collection of dolls: apparently the remainder are in the Peabody Essex Museum. It’s impossible to search its vast collections so who knows?

The Tysons moved an adjacent barn and laid out an enclosed garden of “colonial” flowers surrounding a sundial and fountain and extending to a garden cottage composed of salvaged doors and planks from a first-period house across the river: a shady respite from the summer sun but at the same time open to its environs. As you can see, it’s the season for phlox, which surely must be the perfect Colonial Revival perennial.

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Hamilton Garden Cottage

Hamilton Garden


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