Tag Archives: Shopping

Salem Lots: the Beautiful and the Damned

I’m always checking upcoming auctions for Salem things and over the next week there are some beautiful items coming up for sale, representing the very best of golden-age craftsmanship in Salem, as well as one crafted-but-creepy item, which I’ll leave for last (as it is definitely least). Next Tuesday evening up in Portsmouth, Northeast Auctions is holding an auction featuring five lovely Salem lots, including a Samuel McIntire chair, and a drop-leaf table from the school of Nathaniel Gould. Could this rather low estimate on the chair be correct? Perhaps if there is light turnout (then why am I posting this?) and I do without (new clothes, books, food) for a while I could get it! There are a pair of “similar” mirrors and a great silhouette of Dr. Treadwell of Salem—I presume this is the elder Doctor John Dexter Treadwell (1768-1833) rather than the younger Doctor John Goodhue Treadwell (1805-1856, after whom the Treadwell Library at Massachusetts General Hospital is named), but I could be wrong.





At Northeast Auctions next week: a mahogany shield-back side-chair, carved by Samuel McIntire; Queen Anne mahogany single drop-leaf table, Salem, Nathaniel Gould School; One of two similar Massachusetts gilt-wood and eglomise mirrors; Full-length silhouette of Dr. Treadwell at Salem, Massachusetts.

Here in Massachusetts, An upcoming auction of books and manuscripts at Skinner Auctions includes an edition of a Salem-published book which I’ve written about before: Daniel Cady Eaton’s two-volume Ferns of North America (1877-1880). I have seen these volumes before, and the illustrations by J.H. Emerton and C.E. Faxon are truly beautiful.


At Skinner’s Fine Books and Manuscripts Auction on October 30:  Daniel Cady Eaton’s Ferns of North America.

Okay, now for the creepy lot pertaining to the damned. I made a shocking discovery this afternoon as I was browsing around, a KKK money clip manufactured by Salem’s venerable Daniel Low & Company, the producer of the famous Salem witch spoon! And that very familiar image, is right there on the back. This…….artifact is among the lots in the Omega Auction Corporation’s Jewelry and Collectibles auction down in Florida tomorrow–there’s not much information in the auction listing and I was not inspired to do any research. I almost wasn’t going to include it among these lovely lots, but it is Salem-made, and history is not just made up of beautiful things, unfortunately.


Omega Auctions, Hialeah, Florida:  a money clip with KKK and Salem Witch insignias SUPPOSEDLY made by Daniel Low & Co., Salem (see comments below, on the trail!)

Escape from Salem, part II: Portsmouth Parallel

I was up in my hometown (York, Maine) this past weekend, and spent Saturday morning in nearby Portsmouth, New Hampshire, a favorite old and perennial haunt. One of the reasons I moved to Salem long ago is that it reminded me of Portsmouth: both are historic port towns with vibrant downtowns (now, not always), well-preserved historic districts, and a wealth of cultural institutions. Salem has many advantages that Portsmouth does not have: a major museum (the Peabody Essex), a university (well, you could make an argument that Salem State is either an advantage or a disadvantage I suppose; oddly Portsmouth feels more like a “college town” than Salem to me), proximity to Boston, a National Park, a Common! Portsmouth has at least one distinct advantage over Salem: it has retained its status as a “market town” over the centuries as it hasn’t faced the commercial competition that has challenged Salem’s commercial center (and pushed it towards becoming “Witch City”). Portsmouth has always worked towards the development of a stable, year-round commercial economy rather than a seasonal one, and it shows: it is a city that is oriented towards residents more than tourists. Portsmouth has also experienced the same building boom as Salem over the past decade or so, but they have handled it much better in my opinion: with the exception of a few big boxy buildings past and present have been merged more harmoniously in its center. Salem has a larger, more densely-settled population than Portsmouth and much more intensive traffic as it is situated at a crossroads, whereas Portsmouth is a destination unto itself: this makes Salem a noticeably busier place, exponentially so in October. So it was nice to drive easily into Portsmouth on Saturday morning and walk around the very clean (another big difference) city: the shops and restaurants were full of people even though it was not Halloween-central, imagine!



portsmouth-collage Above: Past and Present  on Portsmouth streets; below–alleys and secondary roads were transformed into pedestrian malls in Portsmouth, not a main street like Salem’s Essex Street. Portsmouth has no Common, but it has some great, well-kept parks—Aldrich Park is below. LOVE the signage, especially the inclusion of former buildings on the site along with biographical information.




There are so many great houses in Portsmouth: below are just a few, downtown and skirting Strawbery Banke. I didn’t even make it over to the South End. Fewer “Salem Federals” than in Salem of course, but there are some…this first house below, which looks like it is a private residence now, was a restaurant called Strawberry Court when I was high school, and this is where we went to dinner before my junior prom!







I had family responsibilities, so I didn’t have much time for shopping or a stop at the Book & Bar (can you imagine a better place?), but I did get waylaid by the amazing African Burying Ground Memorial.




I had seen the Memorial, In Honor of those Forgotten, before, very briefly, but I spent more time immersed in it Saturday morning: immersed is the word, as it does not consist of merely a few statues, but an entire installation, woven together by the words of the 1779 “Petition for Freedom” sent to the New Hampshire legislature by Portsmouth slaves and figures representing both those same slaves and the atoning Portsmouth community, today. Very powerful.







A Rare Emblematic Eagle

It is interesting to trace the adoption of the eternal eagle as a national symbol for the United States in the first fifty years of its existence, and its adaptation in Europe and Asia by entities eager to take advantage of the new American market. The eagle has been used in heraldry since time immemorial, so it took more than baldness to make it American (remember, Benjamin Franklin preferred the turkey for the national symbol, in part (I think!) because eagles were so universal). There’s a very informative essay on “Eagles after the American Revolution” at the Metropolitan Museum’s Heilbrunn Timeline of Art History (a resource I use often) which commences its analysis with Edward Savage’s Liberty, reproduced on reverse-pained glass in China for the American market around 1800. The image shows the former American emblem, a native goddess representing Liberty, passing her torch to the new not-very-bald American eagle.


Chinese reverse-painted glass depiction of Edward Savage’s 1796 print “Liberty”, c. 1800, Metropolitan Museum of Art.

And after that, a veritable explosion of American eagles, appearing in all sorts of poses and forms before standardization occurs. There is a relatively rare eagle emblem from this era that seems so Salem to me: a triumphant seafaring bald eagle rides into a harbor on a shell boat, with shield and flag brazenly displayed. The harbor looks more romantic than federal, but still, the image seems to represent the commercial and maritime foundations of the American enterprise. This past weekend, I almost purchased a saucer bearing one of these “Eagle riding on/in a shell” images, but ultimately decided it was too dear. Manufactured by only one Staffordshire pottery firm, R. Hall & Son, in the 1820s and 1830s, it seems to be one of the few transferware patterns that has held its value over the past decade.








“Eagle Riding on a Shell” transfer-printed pottery in green, blue, rose and black made by the Ralph Hall Factory, Tunstall, Staffordshire, England, 1822-40, from the Collections of the Winterthur Museum, Skinner and Northeast Auctions–interspersed with some centennial textiles made by the American Print Works in Fall River, Massachusetts in the 1870s (another era of eagle creativity), collection of the Cooper Hewitt Museum

The First Day of Fall

The First Day of Fall was much like the last day of Summer: warm, sunny, dry. But it was not humid, for which everyone was thankful, I’m sure. It certainly was a long hot summer, and a season of discontent for many. Fall always brings fresher air and perspectives, and in Salem, larger crowds: the city is already busy, and will get busier with every passing day through Halloween. I took a long walk when I got back from school looking for the new and notable, both of which are easy to find these days. There was definitely a calm-before-the-storm feeling in the air: I plan on hiding in my house or getting out of town for most of October (following this event, which looks like fun, and is long overdue) after my full immersion last year, so this felt almost like a last walk on a first day.



fall-doors-church Lots of color around town, even though the leaves haven’t turned yet….



fall-window-leaves  Still green…..




Old and New courthouses; can’t wait for the new “Hotel Salem” on Essex Street with its rooftop bar–finally an aesthetically appealing design!




Odd Fellows Hall; Emporium show window; the Salem Farmers’ Market in full swing.

Blaze of Glory

I know, Summer doesn’t really end until September 20, but I’ve lived and worked on an academic schedule for my entire life, so believe me when I say that Summer ends on Labor Day. This year I have mixed feelings: on the one hand, I worked all summer teaching and doing various administrative tasks (not, unfortunately, writing, except for here), so it seems like there never was a summer in academic terms. So who cares, bring Fall on. On the other hand, because I didn’t really have a summer (again–in academic terms: I know how privileged I am), these last few days are even more poignant. Whatever–it’s over–as I write this I am sitting in an empty classroom awaiting transfer registration. September is one of my favorite months (October would be too if I didn’t happen to live in WITCH CITY), and because the month is so beautiful, I always have this idea that I’m going to make my garden last through it rather than just giving up and ceasing all garden activities.My garden actually looks pretty good, as we are not under a water ban here unlike many towns in Essex County. I water sparingly, because I feel kind of guilty doing it, but it’s pretty green back there if lacking in color.Unfortunately I am not crazy about late summer/early fall flowers: dahlias are too showy, and sedum too………fibrous (succulents creep me out, for some reason). I found a few other plants to replenish my garden up at Pettingill Farm the other day, but it’s never going to look like the ultimate late-summer garden at the Ropes Mansion.

Last Days of Summer Pettingill Farm

Last Days of Summer 2PF

Last Days of Summer 3 pf

Late Summer Ropes

Late Summer flowers

Late Summer Dahlia Ropes

Late Summer flowers at Pettengill Farm in Salisbury and the Ropes Mansion, Salem. I had planned to go to the Tower Hill Botanic Garden in Boylston on Friday to see the amazing floral/architectural paper creations of Tiffanie Turner but now I see that they are not there! So disappointed. I might just start to like dahlias: hers look like floral armor for the challenges of Fall.

Tiffany Dahlia

A dahlia by Tiffanie Turner: more here.

Perroquet Plates

At this time of year I’m in back-to-school mode and absolutely exhausted by keeping up with the garden, so my focus shifts to the inside. I think I’ll get back outside when it gets cooler in September, as I want to rearrange some things and prolong life and time in my garden as long as I can, but right now I’m focused on interior adornment and projects (this is one way to ignore all of the academic duties that are piling on about now). Leafing through a bunch of magazines this past weekend, I found some objects of adoration in, of all places, WSJthe magazine of the Wall Street Journal: plates adorned with colorful parrots, infused with old-world elegance through a hand-painted process involving sixteen layers. The 12-piece collection is the collaboration of Gucci Creative Director Alexandro Michele and porcelain manufacturer Richard Ginori. I want them all, but at $295 a plate, it will be difficult to justify just one, I’m afraid! The article identifies Michele’s inspiration as “one rare French volume from 1801 on specimen birds”, which was all the cue I needed to identify Jacques Barraband (1767-1809), a French zoological and botanical illustrator whose work inspired imitators even in his own day. While Barraband’s work must have struck his contemporaries as “new” in their colorful realism, Michele was inspired by their antiquated aesthetic, as am I.

Perroquet red

Parrot Barraband 2

Perroquet Plate Design Boom

Perroquet Plates WSJ

Perroquet Plates WSJ 2

Perroquet Plates WSJ4

Derian Parrots

Original Jacques Barraband parrot prints from Levaillant’s “Histoire Naturelle des Perroquets” , Ursus Books & Prints, and Shapero Rare Books. The Michele/Ginori plates from designboom (image ©designboom) and the WSJ magazine (photographs by Martyn Thompson). John Derian has ample antique-inspired parrots among his offerings too, including a 12-piece set of wall trays (works and photographs © John Derian).

Random Scenes of Summer

The only unified themes of today’s post are the season and the necessity of cleaning out the photograph folders on my phone, camera, and computer: everything seems very vivid this time of year so I snap, snap, snap away and now I must purge! There’s always something to see in Salem, and then we ran up to my hometown of York Harbor to escape the heat–but the heat was there too. I am not a beachgoer, so I spent the hot days in the “cottage” (which was supposedly built for precisely such weather) indoors and the cool day (we had three successive days of 95 degree-70 degree-95 degree weather) walking around looking at other cottages. Even though I grew up in York,  I still see something new every time I take a walk–as in Salem. I missed the annual vintage car show while up in Maine, but before I left I checked out two of the city’s newest enterprises: Waite and Pierce, the new shop on the grounds of the Salem Maritime National Historic Site, and Notch Brewery & Taproom, a beautiful space crafting for drinking in good company, with no obtrusive televisions and bad food (just big soft pretzels, for now).

Mid-August, Salem: the scuttelaria are out in my garden (along with the phlox), Java Head window exhibition at Salem Maritime’s West India Goods Store (curated by an SSU History student who did much more research than I did for my post), goods at Waite and Pierce, and the Notch experience.

Summer 4

Summer 5

Summer 1

Summer 2

Summer 3

In York and York Harbor: gardens at the Stonewall Kitchen company store; antiquing (the watercolor below, which was quite expensive, is supposedly a Salem street scene–not sure where–maybe Sewall Street before it became a parking lot for the YMCA?), York Harbor map (1910) and cottages present and past (on this particular stroll I was taken by the older, smaller, mostly-white cottages on the Harbor side), our family house (brown) and the Elizabeth Perkins House (red) and garden on the York River.

Summer 6

Summer 7

Summer 8 Sewall Street

Summer 13

Summer 14

Summer 17 the Samuel Donnell Garrison today and on the left in the older photograph–across from the entrance to the Harbor beach

Summer 10

Summer 12

Summer 11

Summer 9 an ongoing–and ambitious– restoration by a family: it was fun to see them working together……..

Summer 15

Summer 19

Summer 18.jpg goldenrod time at the Elizabeth Perkins House garden

An appendix:  While hiding from the heat indoors, I browsed through several old photographic books of York, and became intrigued (for the fourth or fifth time) with “The Comet”, an odd contraption featured at Short Sands Beach in York Beach a century ago, in which tourists were carried out onto the sea on a track: has anyone seen such a thing anywhere else? Was this a contemporary seaside fad or a unique York Beach attraction?

Comet Collage The Comet in action

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