Nature vs. Nurture: Consider the Spragues, Part 3

In this final part of my blog about the Sprague family, I’ll highlight descendants of Ralph Sprague, the oldest of the three brothers who came to the Massachusetts Bay Colony in 1628.

In the books written about Ralph Sprague and his family, Ralph is most highly regarded for his service to the Massachusetts Bay Colony.

In The Founding of Charlestown by the Spragues, A Glimpse of the Beginning of the Massachusetts Bay Settlement (1910), written by Henry H. Sprague, the author quotes the earlier historian Richard Frothingham, Jr., who wrote of Ralph Sprague in The History of Charlestown (1845):

He was a prominent and valuable citizen – active in promoting the colony.

The Spragues of Malden, Massachusetts (Hingham Historical Society archives)

And in The Spragues of Malden, Massachusetts, by George Walter Chamberlain, this is written about Ralph’s contributions:

Ralph Sprague served as a Deputy to the General Court from Charlestown, then including Everett, Malden, Melrose, Stoneham and Somerville, etc., in at least sixteen sessions and served on important committees many times. The fact that Mr. Sprague served with the most distinguished men of the Massachusetts Bay Colony so long indicates that he was a man of sound judgment and remarkable ability. His influence in the Colony was great.

While Ralph first built a home for his family in Charlestown, he was later given more land:

In 1638 the Town of Charlestown made a record of twelve lots of land which were granted to him. Five of these lots were on Mystic Side, out of which the town of Malden was formed in 1649.

Within a decade, Ralph Sprague was helping to establish the Town of Malden.

On 1 Jan. 1648/9, Lt. Ralph Sprague and nine other freemen . . .  petitioned the General Court of Massachusetts Bay Colony, for a separation from Charlestown, and Misticke side became a distinct town of the name Maulden, 11 May 1649.

This post is intended to focus on historically prominent descendants of Ralph Sprague of Charlestown and Malden who were 19th and 20th century scientists, inventors, and industrialists. But permit me a diversion first to highlight some of Ralph’s descendants who made their mark during their time, though they are less remembered now:

Dr. John C. Sprague (1754-1803) of Malden, a descendant of Ralph’s son John Sprague, did military service as a surgeon, was twice captured by the British, and was imprisoned for a time in Ireland. After the War for Independence, he became a schoolteacher and also was involved in Malden Town government, serving on a wide range of Committees. At a special Town Meeting in 1797, Dr. Sprague was elected both to a committee on education and to a committee to raise money for the encouragement of singing. In noting this specific service, the author of The Spragues of Malden adds: “Thus was Dr. Sprague identified with the best things of his native town in the reconstructive period following the Revolutionary War.”

Phineas Sprague (1777-1869) of Malden—the 5th in a line of men named Phineas descended from Ralph’s son John, was a delegate to the Constitutional Convention of Massachusetts in 1820, at which he spoke on the Declaration of Rights, saying: “It is tyranny in the highest degree to compel a man to worship in a manner contrary to the dictates of his conscience. Religion is an affair between God and our own souls.”

Phineas’ liberal views regarding religion, like those we in Hingham associate with the minister at First Parish, Ebenezer Gay (1696-1787) in the early days of what was first known as the Arminian movement, eventually led Phineas to withdraw from First Parish of Malden. Phineas later would be involved in establishing a Universalist church in Malden.

Dr. John’s son, John Sprague (1781-1852) of Malden, like his cousin Phineas, espoused liberal views of religion at a time when religious congregations in New England were dividing due to differing theological views during what would be known in Protestantism as the Great Awakening, and then due to differing political views: Federalism vs. States Rights. (In Hingham, these political divisions led to the founding of New North Church by a group of Federalist-leaning residents including Major General Benjamin Lincoln.)

John was an original member of the First Baptist Church of Malden but later found himself unwelcome in the church due to his Arminian views vs. the Calvinist doctrines of the minister at the time. In 1812, John Sprague wrote and self-published a pamphlet that caused quite a stir: The History of Wars and Fightings (Without Shedding of Blood) in the Baptist Church in Malden. A subtitle reads “Together with Some Poetry, Never Before Published.”

On April 12, 1812, the members of the Baptist church based his exclusion from the congregation on the publication of this book. While John Sprague was a shoemaker by trade, he enjoyed writing poetry—and a few of his humorous poems are included in the The Spragues of Malden. 

John was selected by the town of Malden for many committees, among them: the Bunker Hill Monument Association formed to raise money for the monument’s construction, and the committee formed by the town in 1844 to choose the best path through Malden for what was then called the Maine Railroad.  I think many of those who serve on Town Committees in Hingham today would have enjoyed the company of shoemaker John Sprague of Malden.

Horatio Sprague Sr. (1784-1848), a descendant of Ralph’s son John, was born in Boston, but most associated with Gibraltar, where he permanently resided from 1815 until his death. Horatio was a merchant and ship owner in Gibraltar, a British territory on the tip of the Iberian Peninsula, when he was chosen to be U.S. Consul there in 1832.  His duties, largely tied to facilitating commerce, were not onerous, but his health declined.

His son, Horatio Jones Sprague Jr. (1823-1901), who was born in Gibraltar and spoke several languages, was appointed after his father’s death as U.S. Consul in Gibraltar and served in that post for 53 years. His consular workload was greater than his father’s due to the opening of the Suez Canal in 1870, and two wars that had an impact during his tenure: the Civil War in the U.S. (1861-65) and the Spanish-American War (1898.) Horatio Sprague Jr. also broadened the business portfolio he’d developed with his father when he became an importer of tobacco to Gibraltar. Horatio died in 1901, and would be succeeded as U.S. Consul by his son, Richard Sprague (1871-1934.) 

Details about this now-unusual Sprague diplomacy dynasty is on this website, serving fans of James Joyce. Why would such a James Joyce website include information about the Spragues of Gibraltar? I was surprised to learn that James Joyce’s famous work Ulysses (first serialized beginning in 1918, then published as a book in 1922) has a Horatio Sprague Jr. reference, as “old Sprague the consul”:

. . . when general Ulysses Grant whoever he was or did supposed to be some great fellow landed off the ship and old Sprague the consul that was there from before the flood dressed up poor man and he in mourning for the son.

While James Joyce’s Ulysses is a work of fiction, this reference to Ulysses Grant visiting Gibraltar is based on historic fact. The then former president, Ulysses Grant visited Gibraltar as part of a world tour in 1878, when the U.S. Consul there was Horatio Jones Sprague, Jr.

Now, on to those descendants of Ralph Sprague who made lasting contributions to science, innovation, and industry in the 19th and 20th centuries.

Charles H. Sprague (1827-1904) of Malden descended from Ralph’s son Phineas (1637-1690), who was among the Malden men who fought in King Philip’s War.

Charles served his local community as a member of the Malden City Council, following in the public service tradition of many Spragues over the centuries. And like other notable Spragues, Charles was a scientist as well as a prominent business leader.

In 1849, Charles Sprague was appointed by the United States Government to the editorial staff of the American Ephemeris and Nautical Almanac, where he reported on astronomical observations. He held this position for fifteen years. American Ephemeris and Nautical Almanac was published, under the authority of the Secretary of the Navy, from 1855 to 1980, containing information necessary for astronomers, surveyors, and navigators.  The Preface tothe 1855 edition reports “the preparation of this work was begun in the latter part of the year 1849, in accordance with an act of Congress, approved on the 3d of March of that year.” The publication continues now as The Nautical Almanac.

Charles went on, in 1870, to establish the Charles H. Sprague Company, a privately-held power company focused on the market for coal during the early part of the industrial age. During World War I, the company became the major supplier of coal to America’s European allies. To facilitate the shipment of coal across the Atlantic, he also founded the Sprague Steamship Company which operated a large fleet of vessels serving many company-owned terminals.

Charles’ son and Malden native Phineas Warren Sprague (1860-1943) had been a partner of what had become C.H. Sprague & Son, and after his father’s death he assumed full control of the business. The company would later expand into oil and be renamed Sprague Energy. In 1942, the U.S. Government selected Sprague Energy to manage its wartime coal shipment program.

Sprague Energy, Quincy, Mass.

Charles’ grandson, Phineas Sprague Jr. (1901-1977) joined company management after World War II service in the Navy, from which he retired as a Lieutenant Commander. While the family sold its remaining interests in the company in 1970, the Sprague Energy brand is still in use, and has expanded into natural gas—including here on the South Shore, where the Sprague Energy brand is emblazoned at an oil terminal on Southern Artery along the Town River in Quincy, MA.

Frank Julian Sprague (1857-1934), another descendant from Ralph’s son John, was born in Milford, CT., was raised in North Adams, MA by an aunt and other relatives after his mother’s death when he was 9 years old. As a boy, Sprague became fascinated by the textile mills and related manufacturing operations in North Adams. He did quite well in school and went on to Annapolis where he studied electrical engineering. He worked briefly with Thomas Edison, but his major contributions came after he began working on his own inventions, for the electric motor, electric railways and electric elevators. His patented inventions made the electric streetcar a reliable means of transit for emerging “streetcar suburbs.” I enjoyed reading the biography: Frank Julian Sprague, by William D. Middleton, MD., published by Indiana University Press in 2009 (cover shown here), which chronicles his life as well as his many inventions.

Frank lived with his family in New York City for much of his life. As a graduate of the Naval Academy and former Naval Officer, Frank was buried at Arlington National Cemetery.

Robert (1900-1991) and Julian (1903-1960) Sprague, sons of Frank Julian Sprague, became the co-founders, in 1926, of one of the largest electric components companies of its time. The Sprague Specialties Company, founded by the brothers in Quincy, MA, moved to North Adams, MA in 1930.  They chose North Adams due to their father’s fondness for his boyhood there. In 1942 the company changed its name to the Sprague Electric Company.

The company expanded in 1942—buying the factory buildings that previously housed the Arnold Print Works textile firm. The 16 acres of grounds on the Hoosic River in North Adams, Massachusetts, encompass a vast complex of 19th-century mill buildings and occupy nearly one-third of the city’s downtown business district. This was the home of Sprague Electric Company until 1985. At its peak, Sprague Electric was one of the largest electronic component manufacturers in the world.

John Louis Sprague, Sr. (1930-2021), Robert’s son, would be the last Sprague to head the Sprague Electric Company.  John Sprague was a chemist who joined the company soon after completing his PhD at Stanford in the late 1950s. He would spend 11 years as president of Sprague Electric. John’s son, John Sprague Jr., wrote a blog, available at www.spraguelegacy.com about his dad’s role with the company. The website also chronicles the history of the Sprague Electric Company.

The Sprague Electric Company was sold in 1976. John Sprague was still president (under the new ownership) in 1984 and 1985 when company owner Penn Central moved the company’s international headquarters from the Berkshires to Lexington and eliminated 700 Sprague jobs in North Adams.  That move, the Berkshire Eagle later reported, “left a legacy of bitterness in the city,” even though Sprague didn’t completely leave North Adams until the early 1990s.

Innovation and the Arts

(Photo courtesy of MassMoCA.org)

Given the history of this family in both the arts and sciences, it seems so appropriate that what was the Sprague factory complex in North Adams has become Mass MOCA—an art museum, known for its embrace of innovation across the visual arts and, in more recent history, performing arts as well.

After years of planning, fund-raising and some additional construction on the former factory site, MASS MoCA celebrated its opening in 1999, as the center’s website says: “marking the site’s launch into its third century of production, and the continuation of a long history of innovation and experimentation.”

That “long history of innovation and experimentation” certainly applies to the contributions over generations of the creative Sprague family as well. Perhaps both nature and nurture played a role. An impressive legacy.

SOURCES not otherwise referenced:

Portraits of John, Charles H., and Phineas W. Sprague from Historic Homes and Places and Genealogical and Personal Memoirs Relation to the Families of Middlesex County, Massachusetts, vol. III (Cutter, ed., 1908)

Obituaries of Charles H. Sprague published in the Boston Daily Globe, July 1, 1904; and the Springfield Republican (Massachusetts) June 30, 1904.

The History of Malden, Massachusetts 1633-1785

Malden Past and Present: 1649-1899, pub. May, 1899.

The website www.spragueenergy.com

Special thanks to my friend Paula Bagger who provided many of the images of items from the Hingham Historical Society archives–for part 2 of this blog in particular.

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Frank Vining Smith’s South Seas Mural

Frank Vining Smith, American (1879-67). South Sea Island Scene

Last summer, the Hingham Historical Society received the generous gift of a large (5.5’ x 7.5’) mural with a South Seas islands scene.  It had been painted directly onto a horsehair plaster wall on the back porch of a home on Hingham’s Main Street. For decades it was hidden behind wall paneling until it was accidentally discovered during a 2011 house renovation undertaken by homeowners Frank and Patricia Hanrahan. The Hanrahans immediately understood this exciting find because they had traced the ownership of their home and knew that from 1931 to 1939 it had been owned by noted marine artist Frank Vining Smith and his wife Nella. Smith is considered one of Americas foremost marine artists and is especially well known for his romantic portrayal of clipper ships from the “Golden Age of Sail.” Although the mural doesn’t depict Smith’s typical subject, the painterly brushwork and color suggest Smith’s style.

Mural on the porch wall at 640 Main Street, Hingham

The Hanrahans decided that this long hidden art work was a valuable part of the house’s history and hired Oliver Brothers of Boston, Fine Art Restoration and Conservation, to preserve and restore the damaged and fragile mural. Over several days the mural was painstakingly removed from the wall of the porch by applying a protective sealer to protect the painting while the crumbling horsehair plaster was shaved off the back. The painting you see is actually over a thin skin of plaster that is mounted to a metal panel which was re-installed at the Hanrahans’ home on the same back porch wall.

Although the large mural is an imagined Polynesian scene without a ship in sight, the unsigned work has hallmarks of Smith’s style: impressionistic painterly brushwork, dramatic color, and a romantic depiction of the sea. A further clue that the mural was most surely painted by Frank Vining Smith is similar tropical imagery and figures that can be seen in a watercolor sketch, Del Rio Shipboard Mural, in the collection of Heritage Museums & Gardens, Sandwich, MA. Frank Vining Smith’s long career included painting decorative mural commissions for interiors of private yachts and ships built by Bethlehem Steel at Fore River Shipyard.

Cover art from J. Craig, Frank Vining Smith: Maritime Painting in the 20th Century (2010)

Smith was born in Whitman and summered as a child on the Cape Cod seacoast in Bourne where he became an avid sailor and loved sketching nautical subjects. His natural talent led him to prepare for a career in art, initially as an illustrator. At the School of the Museum of Fine Arts his teachers were noted American Impressionists Edmund Tarbell and Frank Benson. They both strongly influenced Smith’s painterly style and his ability to depict figures. When Smith reached his mid-forties he had become successful enough to give up publishing work and devote himself entirely to painting. Having moved to Hingham in 1921, Smith perhaps knew fellow successful artists Franklin Whiting Rogers on Free Street and Louis and Beatrice Ruyl on Gardner Street.

The 1920s and 1930s have been called the “golden age of travel posters.”

The murals indigenous figures on a non-specific South Seas Islands beach may have been inspired by popular culture during the 1920-30s when the choice of a tropic idyll was perhaps a whim for a back porch used by family for relaxation and entertaining, open to sunlight through French doors to the garden beyond.

In New England there is a tradition of painted walls depicting far away harbor scenes as seen in homes of sea captains and wealthy Yankee shipowners. Could this scene be Frank Smiths playful take on a seafarers tradition? He was a man known to like a good joke.

Why does this fanciful 20th century mural hang in the Kelly Gallery of the Hingham Heritage Museum, where its bold imagery contrasts sharply with the fine antiques, more formal paintings, and historic artifacts on display?

First, the mural is a stunning artwork painted by a recognized master of marine art. Much of Smith’s work is in private collections and museums so it is a privilege for the Hingham Heritage Museum to display an original work.

Second, the painting sparks discussion of its cultural context. In the mural, native islanders wear tropical sarongs and pursue traditional activities: a woman dries fish in the sun, another bears a wide woven market basket on her head. She gazes admiringly at the strapping young fisherman proudly presenting his catch while a companion tends to the humble outrigger boat.  The idyllic scene is not typical of Smith’s work and may offer a glimpse of popular travel and tourist culture of the 1930s. The mural may also be explored within the sociological framework of “colonial imagination,” the stereotypes created about colonized people, to provide insight into how they may have marked a young artist coming of age at the height of American imperialism.

Installation in Kelly Gallery of the Hingham Heritage Museum, July 2020

Finally, the mural tells a great story of stewardship and historic preservation. The Hanrahans’ research led to a vital connection: noted Hingham artist Frank Vining Smith once lived at their 640 Main Street home. He likely painted the porch wall for pleasure before he and wife Nella built a new home in Hingham at 64 High Street—where wall murals by Smith were also discovered behind dining room walls, including one that also depicted a South Seas view.

Hingham is a town of antique homes. New home owners often renovate old houses, sometimes at a loss of valuable historical assets for Hingham. Fortunately Frank Vining Smiths captivating Polynesian mural was not destroyed, only covered up. The Hanrahans’ stewardship and gift contributes to the many varied stories that make up Hinghams history.

[Want to learn more?  Video of a June 2021 gallery talk by Joan Brancale on this painting can be found here.]

 

Hingham Bird Carving Artistry: Duck and Shore Bird Decoys and Avian Miniatures

Our “Boxes, Buckets, and Toys” exhibit at the Hingham Heritage Museum has celebrated the craftsmanship of Hingham’s coopers and box and toymakers. Another area in which the woodworkers of Hingham excelled was the carving of duck and shorebird decoys, as well as decorative miniatures.

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Joseph Lincoln’s trade card

Life-like wooden decoys are used by duck and shorebird hunters to attract live birds: groups or “rigs” of wooden birds are set in or near the water to lure birds flying by to stop and join them.  The coastal areas and freshwater ponds of the South Shore were popular shooting locations for both sportsmen and market gunners and making wooden decoys became a cottage industry at which a few local practitioners excelled.

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Joseph Lincoln with his decoys

The most famous of our local decoy artists was Joseph Whiting Lincoln (1859–1938), who lived and worked beside Accord Pond on the Hingham-Rockland border.  After working in a shoe factory, Lincoln undertook a variety of occupations before settling into a career as a decoy carver in the 1870s.  In what had been his uncle’s cooperage, Lincoln created decoys that were shipped all over the East Coast and are highly sought after today for their artistry.  This “no nonsense” Yankee  made some miniatures, almost always in decoy style, but generally referred to his miniature carvings as “toys.”

Elisha Burr (1839-1909), a box maker whose Civil War canteens and woodenware are collectibles today, and his son Russ Burr (1887-1955), were also well-known decoy artists.  Like Lincoln’s, their work is highly sought after by collectors today. Russ Burr is also well known for his miniatures, two of which are on display in the Kelly Gallery at the Hingham Heritage Museum.

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Russell Burr, “whittler,” with some of his miniatures.  Photo courtesy of Bob Mosher

Alston “Shorty” Burr (1910-1979), Russ Burr’s nephew, continued the family carving tradition using his Uncle Russ’ patterns for avian miniatures.  Two of Shorty’s miniatures, similar but cruder than his uncle’s, are also on display in the Kelly Gallery.

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A Russ Burr shore bird decoy.  Image courtesy of Bob Mosher

There is much to appreciate in these bird carvings, whether considered as hunting tools or one of the few purely American art forms.  According to Bob Mosher, a contemporary Hingham carver and decoy historian, the difference between Lincoln and Burr decoys is instructive.  Lincoln made “working birds”—even his miniatures were made as little decoys, and his work is simple and impressionistic.  Burr’s style, on the other hand, is more detailed and “busy,” creating an “active, alive” carving.

Contemporary carving by Mosher and Hingham carver W.D. Sarni can be viewed and purchased in our Museum Shop on the 1st Floor of Old Derby Academy.

 

How Artist Joan Brancale Designed the Exhibit Mural for “Boxes, Buckets, and Toys: the Craftsmen of Hingham”

M1 Joan Brancale Hingham 1630 v2The birds’-eye view of Hingham Harbor, circa 1680, envisions Hingham as its earliest settlers found it, a heavily forested coastal village with a safe harbor and large tidal inlet called “Mill Pond.” The mural’s design concept, developed with Suzanne Buchanan, was to give context regarding the importance of the harbor for trade, the vast resource of timber that later helped drive the woodenware industry, and to depict how the early development of the village stemmed from the harbor front.

Working with exhibit designers Ed Malouf and Carol Lieb of Content Design Collaborative through a series of rough idea sketches, the following design evolved: M1 Joan Brancale Hingham 1630 NorthThe focus is on early North Street, later the route by which woodenware from village workshops of Hingham Centre and Hersey Street made their way down the harbor where ships awaited to carry them worldwide. The twilight setting was inspired by exhibit writer Carrie Brown’s description of candlelit homes in a world fueled and maintained by wood.

We see the village at twilight–simple homes, windows aglow—along “Town Road,” now North Street, where the first settlers were granted lots along an Indian path that followed Town Brook to what is now Beal Street. In the distance, I faintly M1 Joan Brancale Hingham 1630 Old Shipsuggested the steeple of Old Ship Church (not yet built) to help locate the site of an earlier meetinghouse on Main Street. At the harbor a single wharf, likely located at the mouth of Mill Pond, suggests the beginning of Hingham’s commercial harbor.  In later years, Hingham harbor’s many wharves were key to the success transporting goods produced by local tradesmen to Boston and beyond.

M1 Joan Brancale Hingham 1630 Mill PondThe viewer may be surprised at the prominence of Mill Pond—how it extends in the distance to what is now Home Meadows. This once broad expanse of water carried early settler Peter Hobart and company to their landing point at the foot of Ship Street at North Street. Mill Pond, flushed by tidal waters and fed by the Town Brook, is, alas, no longer.  In the late 1940s it was “paved over for a parking lot” along Station Street and the historic brook sent underground. The vestige of Mill Pond’s shoreline still remains, along the rear of old buildings lining the south side of North Street.

M1 Joan Brancale Hingham 1630 harbor detailResearch was important to surmise how Hingham Harbor may have first appeared to arriving settlers. I found no local 17th century drawings or paintings on which to base the design. Instead I used a variety of sources to help me understand what might be a plausible view. My research included:

  • Maps and harbor views of New Amsterdam and Boston and research done by the committee working on the development of Hingham Harbor’s Master Plan.
  • The 1893 History of Hingham, which provided information about the abundant hardwoods early settlers would have seen along the coast and drumlins of Hingham;
  • Not All is Changed, Russ and Lorena Hart’s aptly-titled history of Hingham, which includes early maps, including the first 12 lots granted along North Street, and vintage harborfront maps, which helped approximate the location of the first commercial wharf and buildings. These likely extended along Mill Pond near the grist mill, whose ancient foundation supports the old timbers of what is today called Liberty Grille.

Isaac Sprague, Botanical Illustrator

The Old Ordinary, our 1688 house museum, opens on June 13, 2017 and, for a second season, you can come see our Old Ordinary Summer Exhibit, “Isaac Sprague and American Botany.” While the exhibit devotes significant attention to Isaac Sprague’s Hingham roots and continuing connections with our town, it also addresses his prolific career as a botanical illustrator which is the source of his lasting fame.

coffee plantIn the 1840s Sprague left Hingham and moved to Cambridge, where he worked with influential botanists, including John Torrey (1796-1873) and Torrey’s pupil, Harvard professor Asa Gray (1810-1888), who is often referred to as a “father of American botany.”  In the mid-19th century, American botany was undergoing a period of intense growth and development into an academic discipline seeking a unified understanding of North American plant life that would match the highest standards of then-current European scholarship and complexity.  An important part of this process was the publication of complete and authoritative works describing the plant life of this continent—with clear, detailed, and accurate illustrations.  Sprague’s talents were ideal for the task.

2011.0.271Sprague first produced the illustrations for Asa Gray’s 1845 Lowell lectures at Harvard and then assisted with several comprehensive botanical volumes over the course of the 1840s and 1850s. His illustrations were scientific tools first and aesthetic objects second:  Sprague considered himself to be a naturalist or delineator rather than describing himself as an artist. In the preface to his 1848 work Genera of the Plants of the United States, Professor Gray described “the scientific insight and careful investigations of Mr. Sprague, as well as . . . his skill and accuracy in delineation.”  In his private correspondence, he reported that Sprague was studying botany and the natural sciences, underscoring the technical knowledge the work required.

Sprague contributed plates and engravings to over 40 works of botanical, horticultural and naturalist interest over this part of his career. The writers with whom he worked included not only Torrey and Asa Gray but also William Oakes (1799-1848), George Emerson (1797-1881), George Goodale (1839-1923), and others.  (The illustrations in this blog post are plates from George Emerson’s 1838 Trees and Shrubs of New England.)

Signs of “nature’s god” at the Ebenezer Gay house

When a local developer purchased the Rev. Ebenezer Gay (1696-1787) house at 89 North Street, local historian John P. Richardson participated in some pre-construction historical investigations.  These painted panels from the Gay house, later installed in the 1690 Old Fort House which Mr. Richardson owned and occupied, are now part of the John P. Richardson Collection at the Hingham Historical Society.

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Wall Fragment from the Ebenezer Gay House.   John P. Richardson Collection, Hingham Historical Society.

The first wall fragment is made of a plaster and lath surface attached to heavy vertical boards, which are in turn attached to two more modern boards horizontally laid.  The decorative side is painted a dirty off-white base with a meandering vine ad flower motif that originates out of a basket or planter decorated in a cross hatch pattern with dots in each diamond of the crosshatch.  The basket rests on a hilly green stylized landscape. The vine bears large, stylized acanthus-type leaves and flowers of varying shapes in red and blue. Five hand-cut nails protrude from the wall—two at the far left, one at the top center, one at the upper right, one at mid-right.

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Wall Fragment from the Ebenezer Gay House. John P. Richardson Collection, Hingham Historical Society.

The second decoratively painted wall fragment consists of two layers of plaster and lath encasing two heavy vertical boards. The plaster side is painted with at least 2 layers of paint, the topmost having been added by a 20th century Gay family member seeking to restore the design.  The original background was green, while the background of the current surface layer is a dirty tan color.

A meandering vine motif climbs the panel, with the vine bearing red tulip-shaped blue lily-shaped flowers.  At right is a narrow border set off by a dark brown line.  Within the border the flower and vine motif repeats in a narrower scale. To the right of the border is an unfinished area of white plaster with two maroon colored squares of paint laid out in a windowpane pattern.

In his book, The Benevolent Deity: Ebenezer Gay and the Rise of Rational Religion in New England, author Robert J. Wilson III described the Gay house at it looked during the years that Ebenezer lived there with his wife, Jerusha (Bradford) Gay and their ten children:

The house was a 2-1/2 story, rectangular, pitched-roof affair, somewhat large for the period, but not ostentatiously so.  Though it was painted a rather austere blue-gray on the outside, the interior was lively and colorful.  Someone (Jerusha?) adorned the cream colored walls of the family sitting room with a free hand vine design, very like eighteenth-century crewelwork.  The woodwork, fireplace wall, and the wainscott (added later) were all painted a light green.  The whole effect suggested that nature’s god in all his vibrancy was very much alive in the Gay house.

 

My Sally Hess Internship

How has the 2016 Sally Hess internship affected me? Truthfully, it’s hard to describe all the minute ways in which I have grown while working with the Hingham Historical Society this summer. The opportunity to serve as the 2016 Sally Hess Intern has aided me in a good deal of self-discovery and helped launch my development as a museum professional.

Here’s a little background about myself— I went to college with an inkling of an idea for what I might have wanted to study as a major: a high school teacher had assigned an art history paper in which we had to describe work of a Renaissance painter. This sparked curiosity for a subject that I had never before encountered. My high school didn’t offer any art history courses so I gave it a shot my freshman year of college. It just so happened that I had stumbled across the subject that kindled an intense yearning to know more—a craving which I hope everyone feels at some point in their lives.

So, after four determined years of study I graduated college in May 2016 with my Bachelor’s degree. Coming back to one’s hometown after such a momentous occasion doesn’t always feel so glorious; however, I took this anticlimactic feeling to propel my next steps, which included reaching out to the Hingham Historical Society in hopes that they might have some niche for me to work with them. While I waited for them to respond to my inquiry, my mind kept returning to the typical questions a newly graduated individual deliberates: what do I want to do with my degree? Where should I look for work? What work is there for someone with my focus? Needless to say, I was feeling restless, nervous, and a little dire.

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Eve Fairbanks working with a wool winder at the Old Ordinary, our 1688 house museum

Then, in a rather timely fashion, the Historical Society responded, interviewed me, and decided to award me their Sally Hess Internship for the summer of 2016. Thus I found myself with a paid internship with a great organization. Over the months I’ve been working with them, I have been exposed to many facets of the museum world that had never even seemed an option for me. For example, I consider myself a “public-speaking-aphobe.” The Sally Hess Internship required me to act as a docent at the Historical Society’s 1688 house museum, known as the Old Ordinary. This opportunity took me out of my comfort zone but I soon overcame some of that initial nervousness I have with presenting myself. I learned the rooms inside and out by watching other tour guides and reading the material the Hingham Historical Society provided for me. By the fifth tour I gave on my own, visitors to the Old Ordinary were not only commenting on the extraordinariness of the building but also on the quality of my tours. I also experienced the collections work done at a museum: cataloguing 17th– 20th century artifacts, entering new files into our collections database, and researching the history and significance of objects in our collection. I have fallen even more deeply in love with the museum world and have confronted many of those haunting post-graduation thoughts I previously mentioned.

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Sally Hess intern Eve Fairbanks catalogued the numerous  architectural elements from local buildings in the John P. Richardson Collection at the Hingham Historical Society. 

I now feel as though I have a direction I want to head in. I’ve confirmed with myself that I might enjoy museum work as a career. I plan to seek out other opportunities working with documentation of artifacts, helping organize behind the scenes at a museum, or (who knows) maybe even giving more tours. The notion of going back to school for a Master’s degree doesn’t seem so far-fetched; now, that I feel a new verve for this business. I am so grateful that the Hingham Historical Society gave me a chance to work with them. I will never forget this experience and can’t wait to see where it leads me.

Thanks infinitely,
Eve

“Gentleman Farmers” of the 19th Century

Brewer BarnThe “gentleman farmers” of the 19th century were men who typically had made their fortunes in that century’s industrial and commercial expansion and, only afterwards and as an avocation, applied the scientific and economic values and principles that had fueled their successes in those arenas to agricultural pursuits.  For instance, in 1856, wealthy Boston businessman John Brewer built a mansion along Martin’s Lane in Hingham, which later grew to encompass the twin drumlins of World’s End and the Hingham Harbor islands, and his son, Francis W. Brewer, built “Great Hill,” an estate off Hobart Street, now More-Brewer Park. (Shown here: a print from a glass plate negative of the barn at Great Hill, the foundations of which can still be seen in the park.)

Portrait of Samuel Downer

One prominent father-son duo of “gentleman farmers” with a strong connection to Hingham were both named Samuel Downer. The father, Samuel Downer, Sr. (1773-1854), was a Dorchester merchant with ties to shipping and the Massachusetts maritime economy.  He was a founder of the Massachusetts Horticultural Society and devoted horticultural experimentalist, known for having developed several new varieties of pears.  We have in our collection a portrait of the elder Mr. Downer, painted by Henry Cheever Pratt in 1840.  Mr. Downer chose to pose with fruit and flowers and a popular naturalistic work of the era called The Romance of Nature—all reflecting his desire to be remembered for his agricultural interests and not the trade and commerce that had led to his wealth and position.

Portrait of Samuel Downer, Jr.His son, Samuel Downer, Jr. (1807-1881), was a pioneer in the development of kerosene and a participant in early petroleum exploration in Pennsylvania.  (Locally, he is known for having bought up most of Crow Point in Hingham and developed the mid-19th century resort Melville Garden.)  This Samuel Downer (photo at right) also cultivated fruit for a hobby.  One of his inventions was “Downer’s Late Cherry,” a useful application of scientific principles to farming: it bore fruit later than other varieties of cherry, effectively extending the local cherry season.

PH503The Hingham Agricultural and Horticultural Society, founded in 1869, was also comprised of local men and women, many of whom were involved in industry, trade, and commerce.  (Here, they pose for a formal portrait in front of Hingham’s Agricultural Hall in the late 1880s or early 1890s.) As a society, they were earnestly dedicated to scientific farming, that is, using the progressive values of the 19th century and the power of new knowledge and industrial technology to “improve” agriculture along “modern” lines. At the agricultural fair each fall, prizes offered in different categories attracted many entrants. One could win a medal or ribbon—and an accompanying cash prize–for anything from crops and livestock to flowers and preserves.

The prizes offered for “Agricultural Experiments” demonstrate this interest in scientific farming.  A poster advertising the 1863 Agricultural Fair (detail reproduced below) offered prizes for the “best conducted experiment” in several areas, including for instance, “ascertaining the most economical manner of apply Manures for a crop of Indian corn, not less than ½ acre . . . .”

Africultural Fair Poster 1863 #2

Isaac Sprague and American Botany

isaac sprague poster '16-100dpiA new exhibit opened today at our 1688 Old Ordinary house museum, 21 Lincoln Street, Hingham. Isaac Sprague and American Botany: Art, Science, and Agriculture in the 19th Century examines the life and work of America’s best-known botanical illustrator–and son of Hingham–and places his art in the context of several currents of 19th century social history.  Plus, we have mounted some absolutely lovely botanical prints and and a series of beautifully detailed pencil drawings of the many types of orchard fruits that were once grown in this area. The exhibit can be seen Tuesdays through Saturdays, between 1 pm and 5 pm, for the rest of the summer.  We hope you come and take a look and learn a little more about this Hingham artist.

Main Street, Top of Pear Tree HillIsaac Sprague was born in Hingham in 1811. His family lived in Hingham Centre, in a house that still stands today. The Spragues of Hingham were primarily coopers, part of the woodenware industry that gave early Hingham the nickname “Bucket Town.”  Sprague was mostly self-taught as an artist, recalling that he “always had a fondness for making pictures” as a child. He was “constantly discouraged from doing so by [his] father, who said artists were invariably poor,” but his family did have some creative roots–his Uncle Hosea was a printer and engraver, and another uncle, Blossom, ran a carriage-painting business (visible in the center of this early photo of Hingham Centre) where Sprague was apprenticed as a young man.

No. 11Sprague developed an early love of nature and much of his juvenile work is drawn from the woods and fields around Hingham.  In particular, young Isaac drew and painted numerous pictures of birds.  When Sprague was about thirty, he met the wildlife artist J. J. Audubon, who examined a number of Sprague’s bird drawings and, impressed with his talent, hired him as an assistant. In this capacity, Sprague accompanied Audubon out west to the Missouri Territory and Fort Union on a trip to produce sketches for Audubon’s Quadrupeds of North America. This connection with Audubon launched Sprague’s career as a botanical artist.

2011.0.271After his trip west Sprague returned briefly to the South Shore, working as a clerk in a Nantasket Beach hotel until, the following year, he started to work as an illustrator for prominent American botanist Asa Gray, first producing illustrations for his 1845 Lowell lectures at Harvard.  Before long he moved to Cambridge, continuing to work for Gray and other Harvard professors, illustrating several comprehensive botanical volumes in the 1840s and 1850s.  (The illustration to the left, of Aesculus Parviflora, is from an 1848 work, Trees and Shrubs of New England.)

Hingham R.F.D.

Ervin Horton in his Stanley Steamer (1911)
This 1911 shot from our photo archives depicts Ervin Horton (1876-1959), at the time a Hingham mail carrier, in his Stanley Steamer automobile. When we reproduced the photo in Michael Shilhan’s 1976 local history, When I Think of Hingham, the caption read, “Ervin S. Horton and his red Stanley Steamer on South Street in front of the Post Office, July 31, 1911.”

Ervin’s son, Howard Leavitt Horton (1904-1983), memorialized the Hingham of his youth in letters, stories, water color paintings, and sound recordings, many of which are in our archives. Here, in a 1975 letter written to Historical Society President James W. Wheaton, an elderly Howard Horton remembers his father, the delivery route, and the car:

I remember driving around the Hingham R.F.D. mail route with my father in that old Stanley Steamer . . . . We started up Fearing Road and turned right past the old Cadet Field (now Derby) and then left at the foot of the hill by the harbor and over Otis Street then turned right on Downer Avenue passing the Crow Point Inn and to the Steamboat Landing. Then we took a very sharp left turn and up a very steep hill, Steamboat Lane. This was before 1915 and there were few automobiles in Hingham then and I doubt if any of them except my father’s Stanley Steamer could go up that hill after a sharp turn. The old Stanley Steamer just went up that hill puffing steam with no trouble at all. The Crow Point Golf Club was at the top of the hill and then we turned right and there was a beautiful view of Boston Harbour. . . .

In those days there was an old blacksmith shop as we turned right leaving Downer Avenue on Lincoln Street . . . Mr. Wing’s blacksmith shop and then Jerry Breen’s farm house and barn with a windmill which pumped water from a well for use on his truck garden. There were several of these farms in Hingham and they all drove over Lincoln Street early in the dawn to get to the market district on Hanover and Blackstone streets at Boston by daylight, these huge wagons requiring two horses and sometimes four. . . .

Crow Point Golf Club
This postcard dates from 1915, around the time young Howard Horton accompanied his father on summertime mail delivery trips up the hill to the Crow Point Golf Club, a 9-hole golf course located at the top of Paige Hill, off Howe Street.
Steamboat Hill

Steamboat Hill ran up from the former steamboat landing–where the Hingham  Yacht Club now has its pier:  the sharp left up the hill remains in place today.  The painting above, showing Steamboat Hill from the far side, was made somewhat earlier, in 1895–the year before Melville Garden was closed and development of Crow Point accelerated.