Catalogue Entry

Brookbank was an early eighteenth-century white gambrel-roofed house on Fresh Water Cove which was owned and occupied by Samuel Sawyer and his ancestors. It is possible to trace apparent renovations to the house through Lane's pictures; at first it is depicted as a white house without dormers and a simple brown barn Fresh Water Cove, Gloucester, c.1864 (inv. 112); then dormers appear on the house and the barn is white with a cupola Fresh Water Cove, etc., from Dolliver's Neck, 1850s (inv. 113). In Gloucester from Brookbank, 1848 (inv. 42) a cobb wharf (log cabin-like structure) and boardwalk are visible. By Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) the house seems to have additions. 

Lane did a remarkable series of paintings from Brookbank, the Sawyer homestead, which overlooks Fresh Water Cove. They show Dolliver’s Neck and how it protects the cove from the harbor. It is also visible in Dolliver's Neck and the Western Shore from Field Beach, 1857 (inv. 3), though somewhat disguised by the rest of the western shore in that view. He did a drawing and painting from Dolliver’s Neck looking west in Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45).

Dolliver’s Neck is a small arm of land pointing north off the western shore of the Gloucester’s Outer Harbor. It is the cradling arm that creates Fresh Water Cove, a small cove where Samuel de Champlain found fresh water on his first visit to Gloucester Harbor in 1606. It was named for Samuel Dolliver who came from Marblehead in 1652 and bought a farm there.

In Lane’s time there were a few fishing shacks visible in some of his paintings where onshore fishermen could put their boats in from the pebble beach and salt marsh and be out in the center of the harbor without the long row or sail from the Inner Harbor. Fresh Water Cove itself is not deep enough at low tide for larger vessels to moor there so it has retained its small scale and intimate feel down through the years.

In 1900 a Coast Guard lifesaving station was built and manned on Dolliver’s Neck and many lives were saved along that rocky and treacherous coast between Gloucester and Magnolia.

The owner of this flagpole has not been determined, but it is an interesting landmark in Lane's paintings. Often it appears in his drawings and not in his paintings, and Western Shore of Gloucester Outer Harbor, 1857 (inv. 107) contains the only image of a flag actually flying from the pole. 

Through the years, this point and its fortifications had many names: Watch House Point, the Old Battery, Fort Defiance, Fort Head, and now just "The Fort." In 1793, Fort Defiance was turned over to the young United States government and was allowed to deteriorate. During the War of 1812 it was described as being "in ruins," and any remaining buildings burned in 1833. It was resuscitated in the Civil War and two batteries of guns were installed. The City of Gloucester did not regain ownership of the land until 1925.

The first fortifications on this point, guarding the entrance to the Inner Harbor, were put up in the 1740s, when fear of attack from the French led to the construction of a battery armed with twelve-pounder guns.  Greater breastworks were thrown up in 1775, after Capt. Lindsay and his sloop-of-war the "Falcon" attacked the unprepared town. They were small and housed only a few cannon and local soldiers.  Several other fortifications were at various times erected around the harbor: Fort Conant at what is now Stage Fort Park, another on Duncan's Point (near site of Lane's house) and the Civil War fort on Eastern Point. None of these preparations was ever called upon to actually defend the town.

Lane during his lifetime created a long series of images of the point and the condition of its fortifications. In 1832 there were still buildings standing, and the point had not yet been used for major wharves and warehouses. By the time of his painting Gloucester Harbor, 1852 (inv. 38), one can see that the earthwork foundation, but no superstructures, survived. 

– Sarah Dunlap

Fresh Water Cove is located on the west side of Gloucester’s Outer Harbor. It is protected from the harbor waters and the south-easterly seas by the arm of Dolliver’s Neck reaching north from the western shore. It’s a small, very still cove, only a few hundred yards from its mouth to the innermost shore.

The cove was visited by Samuel de Champlain in 1606. He was the first known European to enter Gloucester Harbor, which he named Le Beauport. He named Fresh Water Cove for the fresh water springs he found there, one a bit up from the shore, the other flowing below the high tide line and only accessible at half tide.

The cove, while very well protected from the weather, is small and very shallow at low tide and was never suitable for any large vessels, though there were fishing shacks along the shores edge and small boats were easily pulled up on the sand and salt marsh in its inner recesses. There was a wharf built in the early 1800s to service a granite quarry just up the hill from the cove, which could apparently handle larger vessels at high tide.

In Lane’s time, the most significant landmark from the cove was Brookbank, the Sawyer homestead where Samuel E. Sawyer was born in 1818. Sawyer made a fortune in Boston and returned to Brookbank every summer for fifty years. He became one of Gloucester’s first philanthropists. Lane did a series of paintings from the fields in front of Brookbank looking to the east from the house over Fresh Water Cove, the arm of Dolliver’s Neck and the harbor beyond. He also painted the opposite view in Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) looking west from Dolliver’s Neck over the cove to the Sawyer homestead and surrounding shoreline. Each of these paintings captures the perfect serenity of a high summer day in this secluded cove just off the busy harbor.

Rocky Neck lies on the eastern side of Gloucester’s Inner Harbor and along with Ten Pound Island provides a vital block to the southerly and westerly seas running down the Outer Harbor. Called Peter Mud’s Neck in the late 1600s, it was an island at high tide until the 1830s, reachable only by walking over the sand bar connecting it to the mainland at low tide. When the stone causeway was put in in the 1830s it not only made the Rocky Neck a functional neighborhood of East Gloucester, it secured the southwest end of Smith’s Cove against swell from the Outer Harbor and made the cove a tight and secure anchorage.

In Lane’s time it was primarily sheep pasture with a small population living on the fringes. In 1859 a marine railway was built at the end of the neck which is still in operation. As a result of Gloucester’s burgeoning fish trade, wharves and fish businesses quickly sprang up along the shore of the newly secure Smith’s Cove. In 1863 another landmark Gloucester business, the marine antifouling copper paint  manufactory of Tarr and Wonson was built on the western tip. The Hopper-esque dark red building still stands and guards the entrance to the Inner Harbor directly across from Fort Point.

Lane drew the view for his second and third Gloucester lithographs from Rocky Neck looking across to the Inner Harbor to the town. He also did a major painting Gloucester Harbor from Rocky Neck, 1844 (inv. 14) which shows the sheep, shepherd and dog on the rocky pasture in the foreground with the busy harbor and town unfolding before them.

In the second half of the nineteenth century, Rocky Neck became an active waterfront neighborhood with a row of grand houses on its spine overlooking the harbor and town. Edward Hopper painted one of the more spectacular Beaux Arts houses on that ridge, the afternoon light catching its extraordinary trim and mansard roof, still beautifully preserved today.

Rocky Neck is perhaps best known today as Gloucester’s, and arguably America’s, most famous art colony. Beginning in the 1880’s and extending through the 1970’s, multiple generations of artists, including Homer, Duveneck, Hopper, Sloan, Twachtman and many others, representing every artistic style, have summered and worked, socialized and relaxed in the quaint and once ramshackle confines of the Neck.

The ensign of the United States refers to the flag of the United States when used as a maritime flag to indentify nationality. As required on entering port, a vessel would fly her own ensign at the stern, but a conventional  token of respect to the host country would be to fly the flag of the host country (the United States in Boston Harbor, for example) at the foremast. See The "Britannia" Entering Boston Harbor, 1848 (inv. 49) for an example of a ship doing this. The American ensign often had the stars in the canton arranged in a circle with one large star in the center; an alternative on merchant ensigns was star-shaped constellation. In times of distress a ship would fly the ensign upside down, as can be seen in Wreck of the Roma, 1846 (inv. 250).

 The use of flags on vessels is different from the use of flags on land. The importance and history of the flagpole in Fresh Water Cove in Gloucester is still being studied.

The modern meaning of the flag was forged in December 1860, when Major Robert Anderson moved the U.S. garrison from Fort Moultrie to Fort Sumter in Charleston Harbor. Adam Goodheart argues this was the opening move of the American Civil War, and the flag was used throughout northern states to symbolize American nationalism and rejection of secessionism.

Before that day, the flag had served mostly as a military ensign or a convenient marking of American territory, flown from forts, embassies, and ships, and displayed on special occasions like American Independence day. But in the weeks after Major Anderson's surprising stand, it became something different. Suddenly the Stars and Stripes flew—as it does today, and especially as it did after the September 11 attacks in 2001—from houses, from storefronts, from churches; above the village greens and college quads. For the first time American flags were mass-produced rather than individually stitched and even so, manufacturers could not keep up with demand. As the long winter of 1861 turned into spring, that old flag meant something new. The abstraction of the Union cause was transfigured into a physical thing: strips of cloth that millions of people would fight for, and many thousands die for.

– Adam Goodheart, Prologue of 1861: The Civil War Awakening (2011).

The Ten Pound Island light was built on a three-and-a-half acre island at the eastern end of Gloucester Harbor. Built as a conical stone tower, the original 20-foot-tall Ten Pound Island Light was first lit in October, 1821 after the Commonwealth of Massachusetts and the Town of Gloucester ceded 1.7 acres to the U.S. Government for the construction of an inner harbor lighthouse to help mariners navigate the harbor. Ten Pound Island light was a popular subject with artists, including Winslow Homer, who boarded with the lighthouse keeper at Ten Pound Island in the summer of 1880. It is frequently featured in Lane's paintings of Gloucester Harbor.

This information has been shared with the Lane project by Jeremy D'Entremont. More information can be found at his website, www.newenglandlighthouses.net or in The Lighthouse Handbook New England. This information has also been summarized from Paul St. Germain's book, Lighthouses and Lifesaving Stations on Cape Ann.

Samuel Elwell Sawyer of Gloucester was a patron of the arts. He visited F. H. Lane’s studio, purchased paintings by him and hired him “to make a sketch of old Homestead for Haughton." (1) Sawyer and Joseph L. Stevens also supported Gloucester artist D. Jerome Elwell in his European studies. We know that in August, 1864, Sawyer ordered two paintings from Lane "to be done [when] he is at leisure," and that he also purchased a painting by Lane for $50 in 1864 at a "Sailors Fare."

Samuel E. Sawyer was born in Gloucester on November 25, 1815 and died at the ancestral homestead in Gloucester on December 15, 1899. He was the fifth generation of Sawyers to occupy Brookbank, an early eighteenth-century gambrel-roofed house located at Freshwater Cove. The Sawyer family history goes back to William Sawyer, who came to New England about 1640.

Samuel's wife was Abigail (Abbie) Ingersoll Meads - they married in Boston on October 30, 1845. They had no children but lived an idyllic life, spending November through March in Boston, and April through October at the family homestead in Gloucester. They spent many years enjoying an accumulated wealth which was generously shared with others. However, life was not always easy for Samuel Sawyer, as he started at the bottom and suffered several financial reversals along the way before becoming financially secure.

Sawyer began his business career as a clerk in Samuel Stevens' dry goods store on Main Street in Gloucester. (2) He soon went to Boston, where he secured a job as a salesman with the firm Kimball and Jewett. He then entered the field of shipping and commerce, and became a partner in the firm of Haughton, Sawyer and Adams. This position took him to all parts of the world, and from it he amassed a fortune as a merchant.

Although a good deal of Sawyer's earlier life was spent in Boston and in travel, nothing could entice him away from the scenes of his childhood. At their Freshwater Cove home, he and Mrs. Sawyer enjoyed their middle age and later years. It was during this period of his life that Samuel Sawyer became one of Gloucester's leading philanthropists. His many gifts and bequests ranged from schoolhouse fences to the present clock in the City Hall tower, and from substantial contributions to the Female Charitable Association to a fund that made it possible to introduce music into the public schools. His most memorable gifts were funds for medals to be given annually to students for scholastic excellence, provision of the building and endowment fund for the Sawyer Free Library, and the land now known as Ravenswood Park.

Mr. Sawyer died from pneumonia at the homestead in Gloucester on December 15, 1889 at the age of seventy-four. Mrs. Sawyer had passed away the preceding year, also from pneumonia.

– Mary Rhinelander McCarl and Stephanie Buck